Beethoven's Studies

3
mm
LOUIS
VAN BEETHOVEN S
STUDIES.
(7
LOUIS
VAN BEETHOVE'NS ^
STUDIES IN THOROUGH-BASS, COUNTERPOINT AND THE

ART OF SCIENTIFIC COMPOSITION,
COLLECTED
FROM THE AUTOGRAPH POSTHUMOUS MANUSCRIPTS

OF THE GREAT COMPOSER,
AND FIRST PUBLISHED, TOGETHER WITH BIOGRAPHICAL NOTICES,
BY
;*<
IGNATIUS VON SEYFRIED;

TRANSLATED AND EDITED
BY
HENRY HUGH PIERSON.

(EDGAR MANNSFELDT.)
WITH BEETHOVEN'S PORTRAIT, AND OTHER ILLUSTRATIVE PLATES.
SCHUBERTH AND COMP.

LEIPSIC,
HAMBURGH AND NEW-YORK.
1853.
Mr
\l
PREFACE.
The
German
first
Beethoven's death
after
work, published soon
edition of this
contains
the following introductory
remarks by the Chevalier Ignatius von Seyfried, a friend of

Beethoven and himself a musician of some eminence *)
:
These studies of the immortal Composer are a legacy of

such high value to the world of Art, that no one would venture
away from
to take
served
as
it
line to
was found among
here and there have
it.
have therefore pre-
form, with the utmost conscientious-
in its original
it,
ness
add a
or
his
posthumous papers; only

omitted some tautological examples of
one and the same rule, which the zealous pupil had worked
out for his own benefit the limits of the work did not allow
;
of such prolixity;
but
These studies are not
to
book of
instructions
B's marginal notes are retained.
all
be regarded as a complete systematic
but rather as possessing peculiar interest
and conciseness, and as being the actual course

of Thorough-Bass Counterpoint etc.
which Beethoven went
in their brevity
through with Albrechtsberger
whose
tuition
he enjoyed for
two years
that he was no idle scholar will at once be perand
he
thus laid the foundation of that solid science
ceived,
which characterized his future works. It may indeed be asserted
:
that
his
theoretical acquirements
were,
notwithstanding
his
evident diligence, less remarkable than might have been ex-
pected; but
*)
For a
this
fair
died at Vienna,
ought rather
specimen of
to
be attributed
to the
noble
his compositions see the ,,Libera", p. 63.
He
PREFACE.
VI
audacity of his genius

fetters of
which prompted him
to
shake
off the
pedantry and old-fashioned prohibitions. His creative
spirit carried
him
far
also enabled
him
to
beyond the prejudices of
the Past,
as
it
enlarge the boundaries of his art, and pla-
advance of the age in which he lived. I have little to add to these remarks;
the genuineness of the Studies is unquestionable, and, apart from the
ced him
in
collateral interest attached to

f
value to
without
them
they are of great intrinsic
young musicians who desire
all
unnecessary
Feeling that this
English readers,
work ought
to
be rendered accessible
to
yielded to the solicitations of the Publishers,
and re-editing it; to the

have added some interesting and authen-
and undertook the task of
new German
to get at the kernel
breaking the shell.
difficulty in
edition
translating
of Beethoven,
ticated anecdotes
and
this
to
volume
have
appended a few critical remarks upon his works together with some notices respecting his private history which
further
appeared
to
me desiderata,
satisfactory sketches of his
Music
is
now
life
its
up blanks
filling
known
in
un-
to the public.
America, that a work

its
public; twenty-five years ago
would have been confined

scattered dilettanti
in the
so universally cultivated in England, and
making such rapid progress

sure of
as
hitherto
to professional
is
like this is
circle of readers
musicians and a few
rari nantes in gurgite vasto

it
is
a blessing for both these great nations that the barbarism
which depreciated and all but ignored the claims of music can
no longer be made a ground of reproach to them
may this
,
book be honoured
in
promoting
however
little
the interests
of that divinest Art!
HAMBURGH, 1853.
HENRY HUGH PIERSON.
'
CONTENTS
OF THE FIRST PART.
FIRST SECTION.
SYSTEM OF THOROUGH-BASS.
Page
CHAPTER
I.
The signatures
CHAPTER
The treatment
II.
18
of discords
CHAPTER
III.
19
Harmony
CHAPTER
IV.
The organ-point
47
CHAPTER
V.
49
Entire system of Chords
CHAPTER
VI.
52
Chords of suspension with one interval
CHAPTER
The same with two
VII.
56
intervals
CHAPTER
The same with three
VIII.
59
intervals
CHAPTER
Chords as derived from the change
CHAPTER
Chords of the 9th, Hth, and 13th
IX.
61
of hass
X.
63
CONTENTS.
VIII
SECOND SECTION.
THEORY OF COMPOSITION.
Page
CHAPTER
The elements
of Composition
67
CHAPTER
Definition of the
II.
word counterpoint
70
CHAPTER
The
five species of
III.
simple counterpoint
CHAPTER
Examples
of the
same, as written
in
IV.
two parts
CHAPTER
The
first
I.
V.
species of simple three-part counterpoint
CHAPTER
91
CHAPTER
VII.
Third species of the same
95
CHAPTER
VIII.
Fourth species of the same
99
CHAPTER
IX.
same
103
CHAPTER
First species of strict
of the
X.
simple four-part counterpoint
CHAPTER
Second species
107
XI.
same
110
CHAPTER
XII.
Third species of the same
CHAPTER
113
XIII.
Fourth species of the same
119
CHAPTER
Fifth species of the
89
VI.
Second species of the same
Fifth species of the
77
XIV.
same
124
CHAPTER XV.
Examples
of the free style of contrapuntal composition
130
IX
CONTENTS.
THIRD SECTION.
ESSAY ON THE FUGUE.

Page
CHAPTER
I.
CHAPTER
II.
CHAPTER
III.
CHAPTER
IV.
CHAPTER
V.
440
Imitation
465
The two-part fugue
172
The three-part fugue
The four-part fugue
485
214
The choral fugue

Double counterpoint
in the
CHAPTER
VI.
CHAPTER
VII.
227
octave
237
Double counterpoint
in the tenth
Double counterpoint
in the twelfth
CHAPTER
2*7
CHAPTER
Examples of
all
VIII.
IX-
254
three species of double counterpoint
CHAPTER X.
277
Inversion
CHAPTER
XI.
CHAPTER
XII.
The double fugue
285
The canon
303
APPENDIX.
Fragments. Hints for vocal composition
344
On
315
the Recitative
Andante and Allegro
for 2 violins
and
325
cello
CONTENTS OF THE SECOND PART.

Biographical notices of Beethoven
and anecdotes
40
Traits of character
His last will
23
Authenticated letters
25
Written dialogue
Inventory of his property
30
in
books
music, etc
32
CONTENTS.
XII
Page
Settlement of pension
Baptismal registry
The
36
.
38
funeral
39
Circular invitation to
42
it
Autopsy
43
Necrologue
44
Elegiac stanza
by Grillparzer
Poems and epitaphs on Beethoven
Beethoven's monument at Bonn
46
48
Remarks upon his character and works

The commemoration-festival at Bonn
Hymns performed
45
50
54
56
at the funeral
Choral melody
70
Explanation of the engravings
74
Catalogue of his works
75
PLATES.
Facsimile of Beethoven's handwriting.
The medals struck

His
monument
honour of
in
in the
cemetery
Original sketch of the
His
monument
at
B.
at Wa'hring.
Adelaide", facsimile.
Bonn.
View
of the
house
in
which he was born.
View
of the
house
in
which he
died.
**
IN
STUDIES
THOROUGH-BASS, COUNTERPOINT, AND THE

ART OF SCIENTIFIC COMPOSITION.
FIRST SECTION.
SYSTEM OF THOROUGHBASS.
vm
signatures; e. g.
g-
Unisons.
Seconds.
Thirds.
<
<
<
FIRST SECTION.
Fifths.
<
Sixths.
<
Sevenths.
Octaves,
or Eighths.
Ninths.
<
<
The Tenths
nothing more
th;
sented by the
Fi
succession; but
the sake of brevi
3
When
the signs of Transposition
become necessary
3
to the progression
which have not been presupposed by the original key these

be
written as in the following examples.
must
signs
The intervals which are included in the original key are called natural
of intervals
intervals,
flat
or sharp, major or minor; they are called accidental
when
signs of transposition are required to indicate them.
stroke through the figure, or a sharp # at the side of
the right or the left, raises the interval half a tone higher;
*
f
Is
^
1
e. g.
it,
either
on
FIRST SECTION.
In order to lower an interval
a large p or
ti
two small
{^7
by a whole tone
must be placed before it
F3
-F
^p
(in
;
the flat-keys or scales)
e. g.
Another received method of indicating transposition (and one which
it easier to distinguish at a
im|? or Jf
glance) is to place the sign
renders
mediately before the figure;
$5
to
draw
if 6,
8,
But
$7.
e. g.
b* t>5 &2, fy, t)5, ^6, i}7; JJ4 Jf2

better, for the sake of avoiding the chance of mistakes,
it is
a line through the figure;
{?2,
e. g.
$,
2^, 4b,
6&
2$, k\, 5^;
4,
?.
This kind of stroke occurs but seldom in cases of the Octave or the
Ninth,
being then customary to prefix the $ or
it
e. g.
note;
#8, #9,
t}8, t}9;
J>8,
similarly in cases of the
to
{?
stf, 9JJ;
e. g.
or after the
in natura,
And
8>, ty.
or
Unison;
$1, tH, fH
Ijf, ity, 1J7.
Double sharps, flats or naturals (resolutions of transposition) are only
be found thus indicated 4n-, or, X2
6X; 2^, or H?5, 7{?[;; i}{?6 5*$;
note,
the sign of transposition stands alone, over
refers
The
etc.
Where
it
8^;
1)1)3;
to
t>9
or 8#, 9J;
fundamental
the
as aforesaid, always to the Third.
figures are always to
be placed over the Bass-part, because nearer
it is customary to write forte &

piano, mf., rfz.,
But sometimes, when, for example, one part is written over
them or underneath them
pp., dolce etc.
another, one for the Violoncello

or in Fugues
where
part; the simple notes
the other for the Contrabasso or Organ,
the entrance of the subject
is
indicated in the Bass-
must be played, and no chords struck before the
figures occur.
When
the right
hand has an
obligate passage to execute,
it is
=
=
TT IT
expressed
in small notes, e. g.
These chords or single intervals, the figured harmony

little on one side of
not stand directly over the note, but a

the same
moment
be struck
at
to half or
one third of the value of that note;
as the bass note
but after
e. g.
it
to
it,
which does
are not to
in proportion
FIRST SECTION.
Every indicated harmony
is to
the middle of the next bar, until a
fl
&
'-
be retained as long as the bass -note
common chord is here to be retained

new figure appears; see the example:
stands unchanged; for instance, the
to
H^F
3454
1*32
P^
544
6
7i?
Five figures are lo be interpreted thus
^1
:itfc=SiSd=^î^
7 b>
'
^
When two
3 parts (a
figures
minim with
adjacent
a dot) the
75>-
are placed over a bass note divisible into
harmony which stands
have two thirds of the value of that note (one minim)

having but one third of the same.
J,
first
indicated
the other
is
to
harmony
FIRST SECTION.
When
there are four figures, the
two
harmonies have severally
first
the value of one entire third of the value of the bass note, thus leaving but
one
third to the other
two
figures
"e. g.
rt-s
&=^b=i=^=J3,L
Five figures are to be subdivided as follows
an*"*"'!
iFf
9
\t1
^
&z
Dots placed after the figures
may be used
5*6.
4^
j?7
*
&
= ^==1
&=
But a horizontal stroke serves the same purpose
e. g.
-&
^
When
way:
IF*^?
3
in this
figures are placed over a dot, the
harmony thus
indicated
is
to
be placed before the note which follows after the dot, and the duration of
the intervals is to be reckoned by the note preceding it.
i,,
'
-11
;*]
^|=^Hfâ
!"*
The same
rule
be observed
is to
longer than quaver rests

ll_
e. g.
in case of rests
i.
e.
should they be
10
FIRST SECTION.
ming the chord (and which are

a horizontal line
After
two
three
called regular sequences)
but not always
change the chord

F
sometimes drawn
or four figures placed over each other
meet with as many horizontal strokes

cessary to
is
e. g.
e. g.
that is
in cases
where
we
it
generally
is
not ne-
First,
the
nished Fifth;
common harmonic
triad
ii
with the lesser Third and the dimi-
e. g.
I
Secondly, certain imperfect chords, in which any one
wanting;
fl
e. g.
*
^
interval
is
12
FIRST SECTION.
Where
the
words unisono,
the passage in the bass -part
unis.,
is to
all'
unisono,
all'
ottava are written,
be repeated in the octave immediately
above, by the player's right hand; when the accompaniment is again to be

enriched by chords they must be indicated by the proper figures e. g.
;
fcz
=]
-5-4-i
- S5
^h-
so/o, or the abbreviation T. S.
sustained without the addition of

res
II
e. g.
means
harmony
that the bass note is to
until the
be
reappearance of figu-
13
SECOND CHAPTER.
All Discords
must be
legitimately prepared
and resolved
i. 'e.
they
must previously have been Concords, and be capable of becoming so again

they may be resolved either from above or below; e. g.
Discords of every kind may be played freely and without preparation

over permanent (sustained) basses; inasmuch as they cannot be prepared
on account of there being no change of bass, which very circumstance renders their preparation unnecessary;
The insertion
cord by
e. g.
of a sign of transposition,
a tone or semitone
which lowers a prepared Dis-
does not invalidate
its
preparation
e.
g.
In like
manner we
Sometimes
often find one Discord resolved into another;
+
^1
it is
fi-
not resolved
supplying the place of
its
resolution
e. g.
|._T
the progression of the fundamental bass

;
e. g.
14
FIRST SECTION.
But even where the resolution of a Discord

the introduction of other Discords,
sooner or
later, into a Concord.
it
is
still
is
delayed for some time by
indispensable to
This kind of writing
is
resolve
it,
called a retarded
resolution.
Occasionally the right hand does not await the entrance of the bassnote over which a Discord is to be resolved, but anticipates it; for instance
:
^
=t
And sometimes
this is
done by the
left
hand
e. g.
k*a=*==*j
Both cases are termed Anticipatio
A. Anticipation in the treble-part,
or a forestalling of the resolution.
when
the oblique stroke /
is
to
be
used , as in the case of the passing notes before mentioned.
m
e
B. Anticipation in the bass -part,
stroke
may be used
When
is
to
indicate
which the horizontal
as in case of the regular sequences.
the bass-note
before the Discord

in the
is
repeated by the next chord in the treble-part,
actually resolved
harmonic position;
e. g.
it
is
to
be viewed only as a change
16
FIRST SECTION.
Sometimes
If
and
less than the half,
this is
more common;
e. g.
the piece of music be in quick time, and the notes are short,
often find the greater part of
them passing notes
we
e. g.
On certain occasions, which will be recurred to in the following pages,

we meet with what are called passing intervals. These are of three descriptions
First
when
Secondly.
changed
or:
the bass-note
When
is
permanent
e. g.
the intervals forming the accompaniment remain
while the Bass moves on
e. g.
un-
Thirdly,
when
movement
the
is
17
extended to both parts;
e. g.
<T*
'
F=lfe
When
J-TTI-W-dhUd
J-fch^j
the accompaniment
falls
juL
*!
,
only upon those notes which, in re-
spect of their rhythmical value, are the longest, the passage

lar (transitus regularis)
when
and seventh are the longest (on account of the

sixth and eighth are shorter
e. g.
third, fifth
fifth
is
called regu-
the passing notes are of equal value, the
first,
accent); the fourth,
s.
1.
s.
1.
1.
s.
s.
1.
In case of the accompaniment,
bass-note
passage
is
1.
s.
s.
1.
1.
s.
1.
which properly belongs
s.
1.
s.
to the shorter
being anticipated , and thus falling upon the longer note the
termed irregular (transitus irregularisj, and is said to contain pas,
sing notes of permutation
e. g.
uJ
i%
Besides the usual and far preferable
mode
of distinguishing this sort of
an oblique stroke /, we find them often indicated by a

or half circle, Q, ^/, and sometimes by the sign +*>; e. g.
notes, viz:
t_
:
jtg
nc:
circle
ZZI&
it
This irregular transit consists in fact of those anticipations of Resolution
which have been already mentioned.

Beethoven
Studies.
18
FIRST SECTION.
The Discords which
arise
from the
transit in
both parts
below, cannot always be resolved at once, even though they

legitimately prepared
e. g.
Z
fl
'
'g
above and
may have been
19
THIRD CHAPTER.
Fundamental chords are those which give Origin to others and are of
two kinds only; the perfect or pure triad f, and the chord of the Seventh
,
all
J;
others,
which are derived from these, are
called chords of transpo-
sition or secondary chords.

If
we
Seventh
write a Bass which involves nothing but triads and chords of the
that bass is in fact the real fundamental or ground-bass.
Thorough-bass.
Ground-bass.
-j
Discord*)
there are
usually resolved
some discordant
are resolved
is
by
JJJI
intervals,
by a
diatonic interval
downwards; but
which
especially those termed extreme,
a similar interval upwards , viz
by ascending
e. g.
FIRST SECTION.
If,
on the contrary, a whole
chord,
or only a single
struck in the accompaniment before the bass-note changes ,

anticipated Resolution
it
interval,
be
called
an
is
e. g.
4-
not
Antici-
pated.
i
This proceeding
when
can only then properly be termed an Anticipation
occurs after a Discord; for the second Example shews that the false
(or diminished) Fifth, which forms the preceding Discord, is in reality resolved beforehand but this is not always the case e. g.
it
=T
ft
m
P
67
j
without
67
Anticipation.
rr-
666
t
The following Example shews

be made
in the bass.
that precisely similar Anticipations
may
.
And
likewise over a sustained bass
e. g.
~
br
1*2:
chord
in this instance omitting a
e. g.
\L
also
by changing
the Discord into a Concord, and vice versa;
bs
i-
it
ff[
The
of figures
2>nre tn'arf is a
but
e. g.
if
chord which-
may be
figures corresponding to
played without the guidance

intervals are placed
its
singly or
together, above or below the bass-note, they have a particular meaning.
Sometimes they indicate Discords which are

nies without change of bass
J.~
to
be resolved
into other
harmo-
e. g.
I
sometimes
when
Discords follow
the sake Of perspicuity
e. g.
the triad
is
symbolized beforehand
for
22
FIRST SECTION.
sometimes
it
is
well to distinguish one note of the accompaniment which ap-
pears to be a passing note;
e.
g.
y >^&^j^^
, f
it
"
'
Accidental major Thirds are generally to be found moving upwards

four-part
in
harmony they may, however, descend; e.g.
.,
The common signature for the chord of the Sixth is simply the
we meet with symbols for the other integral parts of
occasionally
J,
figure 6
it
there
are various reasons for this.

All
unmelodic sequences
may be
avoided by doubling single intervals.

'
4 4
:t
This artifice becomes particularly necessary
rectly after a Sixth
this
way, and some
the
Example shews what
when
intervals
varieties in the position of the 5th
a Fifth follows di-
may be
doubled in
and 6th;
In the free (or florid) style the Sixth is freauently used in conjunction
with the Octave
e. g.
65
\>r
When
the Sixth
other interval
is
R
li"l
6
is
played together with the diminished Octave, no
admitted into the chord
I
5
*
g
If6
e. g.
&
I
5
Jf
7^66
7
b
G
6
I
S
The augmented Sixth is a Discord which may be used without prepabut must always be resolved upwards e. g.
ration
The Discord formed by the diminished Sixth
When
in the
accompaniment
of the Third or Sixth
mony
is
to
remain as
is
it
altered
is
of rare occurrence
wrftten over a figured bass
by means
of a short note
e.g.
the position
the foregoing har-
was, whether the time of the movement be slow or
cjuick.
Now
Sixth
and then a sequence occurs, in connection with a chord of the
when
it
becomes necessary
to
adopt five-part harmony
e. g.
zzznzi
SE--H
The supposititious, diminished harmonic

lized at all, or only
by
triad
is
usually either not
the sign of the false Fifth (5{?).
symbo-
In the sharp keys
FIRST SECTION.
a Natural
is
(Jl)
used
to indicate the false or
minor
Fifth.
find the other figures indicating this triad placed .over the
but inasmuch as the chord of the Six-five
symbolized by the figure
we
5 (5^ or 5^) where
The
extreme
dicated
red,
supposititious,
Fifth
5,
or
it
is
with the
often
draw an arch over the
advisable to
augmented harmonic triad consists, in addition to the

This chord is in-
of the greater Third and the pure Octave.
the other figures corresponding to
Discord which
false Fifth is
intend the diminished triad to be used.
the symbol of the extreme Fifth , viz
by
by
5{?
we
Occasionally
fundamental note
may
always ascend:
5i}
or
if it
be prefer-
This form of the Fifth
it.
is
not legitimately be used without preparation , and must
e. g.
The same
Third ,
is
interval, metamorphosed by a change of bass into an extreme

commonly used as a grace in a piece of vocal music in slow time,
and as a gentle transition
The chord
to a
new
of the Six-four
must be prepared; the perfect
is
modulation
e. g.
indicated thus,
Fifth
may
J.
The diminished
Fifth
sometimes be used unprepared;
e.g.
J
M
Here the perfect Fourth
remove the necessity
is
in fact not very dissonant, but this does
for its resolution
tus (sequence of passing notes) e. g.
except where
it
not
occurs in a transi-
The pure Fourth may stand in conjunction with the greater or

and be resolved into the perfect triad e. g.
Sixth
,
lesser
P
fe
&-3\
.^-^g5
=EtH=3.
not always necessary, whether the Bass move on or be stationary, because other harmonies are often indicated by a set of figures,
which harmonies may indeed postpone the resolution of the Fourth, but do
But
this is
not annul
e. g.
it;
#7
When
of the Fourth
three-part
in a
,
chord of the Sixth , the Third
the combination
harmony
if
Sixth than the Octave.
is
is
delayed by the presence

is best treated in
a very delicate one and
a fourth part be required
it is
better to double the
In a passage of this sort- all the three Fourths and
both the consonant Sixths
and must also descend.
may be used
but the Fourths must be prepared
therefore necessary to indicate them by. a particular sign, for the convenience of. less practised players-.
Where the di-
minished Fourth appears,
It is
it is
in connection
with the diminished Sixth
e. g.
26
FIRST SECTION.
The augmented Fourth
is
conjoined with the greater Sixth
e. g.
(
The pure Fourth
is
conjoined with either the greater or lesser Sixth; e.g.
4J_-||_^=
"
a"",^
27
28
FIRST SECTION.
It
would be incorrect
to write the
chord of Six-four
passing Fourth:
"
'
,
'
for the sake of a
Instances of the major Sixth connected with the extreme Fourth and
.
greater Third
.J
fev l-i$<g
HI
Instances of the minor Sixth connected with the pure Fourth and the
lesser Third
i^j-ji-g^t^-j~y=jN
367
EEfE^jf^fegîi
Instances* of the major Sixth connected with the extreme Fourth
the lesser Third
and
J
&
IL
ip.
:t:
Instances of the major Sixth connected with the pure Fourth and the
major Third;
LA_J^J_^_L__-L
"Tvr-T'
LAA.L
30
FIRST SECTION.
Instances of the extreme Sixth connected with the extreme Fourth and
the greater Third
It is
four
sometimes necessary to include the Octave in the chord of Sixmuch on account of the required fullness of harmony as on ac-
not so
count of the resolution of a previous

Discord e. g.
or the preparation of a subsequent
In passages like the following:
chords of the Sixth are to be played, because * would grate too harshly
upon the ear, as not agreeing with the melody. In harmonic sequences like
the following
it
The chord
signated
by
ter
or (occasionally)
of Fifths
and lesser
to
make
the accompaniment fuller
of Six - five consists of the Third
admitted.
flat Fifth is
fwo kinds
!?,
becomes necessary
may
by the
Fifth
and Sixth
figure 5j?, viz:
when
it
is
e. g.
de-
the false or
Three kinds ofSixths, the extreme, major and minor

two kinds of Thirds the grea-
the false and .the pure
go to form
this
chord:
e. g.
51
FIRST SECTION.
no Fourth follows upon the Fifth (the bass being stationary, as

and
other intervals succeed, or the fundamental note is changed
aforesaid)
the
usual accompaniment of the Six-five .harmony is to be retai(moves on)
But
if
ned.
and
In the above cases

this is frequently
|lfc=p-
it 'is
met with
customary
to
draw an arch over the 5
in organ-points
e. g.
(IT),
55
The following examples shew
struck
together
composition
without
that the Sixth with the false Fifth
preparation
and
this
uJ
even in the
may be
strict style of
This unprepared pure Fifth and resolution of a Discord
is
explained
thus:
The retention of a convenient position
of the parts
and of the flow of
melody, as also the observance of pure progression in the bass and treble,
are justifiable reasons for using the false Fifth without preparation, which
by no means indispensable.
The false Fifth is sometimes played together with a duplication of the
Third instead of the Sixth, although the Sixth would not have interfered
is
with the modulation

tition of the Sixth
this is
when
done
in order not to offend the ear
the foregoing Discord
is
resolved.
doubled for the sake of keeping the melody uninjured

partwriting;
e. g.
Beethoven, Studies.
and
by
The Third
a repeis
often
also to avoid
bad
FIRST SECTION.
Ti-p
sau*m
L.
F^3r=E3EEEf3e^
= 1
^J H
1L
~
h^bari
'
'
The Chord of the Second consists of the Second, Fourth, and Sixth.
The signatures for it are 2, or k\, 4, $4, (by which the 4th is raised) or +,
oder: I. The Sixth may be major or minor, the Fourth extreme or pure,
The dissonant interval
the Second perfect, diminished, or augmented.
always occurs in the Bass, either as a bind (suspension) or as a passing
note and is always to be resolved downwards e. g.
;
=J
LJ-^-i-
When
the perfect or major Second
and major Sixth

stationary
ir:
the Fourth
is
may ascend
conjoined with the pure Fourth

or descend
it
may
also
remain
e. g.
The same
(
the 4th )
liberties
where
it
may be
taken with the treatment
of this interval
connected with the perfect and the diminished Second
is
and with the minor Sixth
e. g.
bJ
&=f= H=^^
^=bz-EE=t=!
:
fc*
=3
When
Sixth
it
is
the augmented Fourth appears in conjunction with the perfect
may subsequently remain stationary or ascend and similarly when

connected with the augmented Second and major Sixth but in the
,
it
latter case the
carried
extreme 4th
may descend
up immediately afterwards;
J
in a transitus, provided that
e. g.
J-
____
it
be
FIRST SECTION.
J
a^-jt^p-8===i
fgflg-z
ti
.i
J-H
f S
=s=tfi5=F=r
-^h4^
I-
H-
-te
Sometimes the extreme Fourth may descend by the extent of more

than one interval
e. g.
I
f^T
*
The Second
by
this
descent
is
r
5
1T-I-
F^
doubled in order to cover the bad progression caused
e. g.
ii
No figures are necessary to indicate the conjunction of the major Sixth

with the extreme Fourth, and of the minor Second with the minor Third.
The extreme Fourth
the former
major Sixth
be used: e.
may
,
in
g.
is
taken together with the extreme Second
and with
be taken the perfect (or pure) Second together with the
which case the double-sharp signature
4n
or
is
to
In a case like the following the Sixth
must be written with the sign
of
transposition, viz:
-J
The chord of Five-two ( ) contains in fact only the Fifth and Second,
but appears sometimes as a four-part harmony by the 'duplication of one or
*
other of
essential intervals.
its
Its
signature
is
When
there
is
all
suspensions where a
g.
an irregular transit, or passing notes of permutation

is sometimes to be met with; e. g.
occur, the augmented Fifth
Both the Fifth and
\.
Second are pure and the Discord is formed , as in

chord of the Second is concerned by the bass e.
FIRST SECTION.
The chord
Third
of Five-three-two consists of the
and the pure
Fifth.
Its
signature
is
minor Second , the major

and
the figure 2 with a Natural
the symbol of the major Third, viz. a sharp placed above the 2
c~H"
-73
e. g.
59
If
the Seventh be not struck at the
the bar,
it
must always descend;
In the following
Examples
shown
is
as the first bass-note of
the proper
method
E35
rf
6
same time
e. g.
:=I
rfr
="?
H=tl
2t
if
Chords of the Seventh with the greater Third
"
n___L_^_^-_
'-Hfl
of duplication
F-i5-:L" -5r^T
rr - p'
f -'-p
F=?$f^f=^^
Passing Sevenths must be very carefully treated
e. g.
+-L6
None
7777
of the passing notes
are to be figured
which occur
in these
harmonic combinations
40
FIRST SECTION.
Good progressions
JTJ
J...
of the Seventh
rrj
we sometimes meet
In the transit
Fourth;
with the Second
instead of
the
e. g.
^P
m^
The chord
of Seven-four
is
symbolized by^;
it
contains,
when complete,
ingredients may be the major, minor, and

diminished Seventh the pure Octave, the extreme, pure, and false Fifth;
the diminished, pure, and extreme Fourth, which last may be resolved at
also the Fifth or the Octave.
Its
the same time as the Seventh;
In like
manner
e. g.
the Fourth
the Seventh before the Fourth
t=taa-
may be
resolved before the Seventh, and
e. g.
ITT
-6
FIRST SECTION.
PIE
45
It is
not always necessary to resolve the Ninth;
be postponed
its
resolution
may
also
e. g.
=fe^gfe^JI*fe^
-^
G-
The Ninth must never be prepared upon the Octave

bass-note
because
f3
i"
this involves a false
progression
of the foregoing
see the example
44
FIRST SECTION.
:td
In this chord the Ninth
may be
major or minor; the
either
the Fourth
alternately extreme, or pure, or false;
is
Fifth
invariably pure;
is
e. g.
rt=
698
546
g>-
If the Sixth be taken instead of the Fifth, (which may be perfect or

minished ) the Sixth must be specially indicated in the signature e. g.
di-
^S J=qi=JS
d:
:>f-B:--=:
*^
_8
^faECTlE
The chord
the Third
of Nine-seven includes
in addition to the 9th
*
and
7th, also
with the proper signs of transposition. If

these Discords (9, 7,) be resolved, both at once, over the same bass-note,
:
is
it
expressed by
they must descend to the 8th and 6th;
e. g.
If
figure
is it
the Fourth be taken instead of the Third
4, and
less so
when
or extreme,
it
as this interval precedes the other,
which
the Fifth,
annexed
is
to
up
fill
The ingredients
;
may be
(in this combination)
the
harmony;
of the chord of Five-four are the Octave
the signature for
4 3
it is
or
>
in cases
The pure and
is sufficient.
false Fifth
the Fourth are included in this chord; the latter
and be resolved downwards
the Fifth and
where the Fourth
resolved immediately; where resolution of the latter interval

single figure 4
pure, false,
e. g.
J-J
the Fourth
must be indicated by the

is easy, nor
the transition
is
is
delayed the
the pure Octave and
must always be prepared
e. g,
t=J:
^
=t=,
^-
^-Tî^s
H
-i
*?*-
u-1
r^
\>s
b*
î^^
In the free or secular style this chord
sion, consisting of
with the
is
sometimes used as a suspen-
and extreme Fourth, unprepared, together
Fifth.
In No.
is-
the pure
<
the pure Fourth
also reached
by
taken as the next interval descending , and
the ascent of a minor 3d
fl
No.
is
=S-:-^r--
-t
46
FIKST SECTION.
In No. 2 the extreme Fourth
is
introduced, and prepared
by the prece
ding note.
No.
2.
In No. 3 is
on
and
its
shewn how
the extreme 4th
place only intimated
having a crotchet rest
No.
by
may be
a signature
omitted as a suspensi-
the actual accompaniment
3.
<
:t
In No. 4 the chord of the Sixth
is
subjected to
all its
permutations over
bass-note, and then made to pass into the Fourth both by the
descent of one interval and the ascent of several.
the
first
ti
No.
4.
Care must be taken not to

consecutive Fifths.
let this
harmony be
written so as to involve
47
FOURTH CHAPTER.
A
harmonic combinations (chiefly consisting of suspensions)

formed over one long-sustained bass -note, is called an organ-point, or
series of
point d'orgue.
nuto bass
The harmony
this is
shewn
is
often complete in itself without the soste-
essentially a characteristic of sacred
with
music
J^J
===^L^^^c^L^^
3~ h
H--F P Jigm
:
1''
i_j J
l-fer-g
236
ip
3
1
is
and can very seldom be used
effect in secular compositions.
j
ti
The organ-point
in the following examples.
f^
JLJ
j__J_
EJIg=p_-I-g_.-II
6
7678
(without bass.
48
FIRST SECTION.
J~J
4.334
5,3
P*
b*
t^
r~~^r
~~|-
#7
&
1^1*
T^
44
6^4
b7
f
^J
It is
hJ
b7
not customary to indicate by figures the harmony belonging to an
organ-point;
T.
S. (tasto solo) is generally written
and the organist may then sustain
it
under the bass-note,
both with the manuals and pedals.
S^=^
Ff^f
S
j
\i
=^
f?;
5.
(without bass.)
r
-
j.hj=j^=y]
The following examples in which the figures are set down , are intended to give a clear insight into Ihe harmony which if analyzed will
be found to consist for the most part of not very abstruse combinations.
,
41)
FIFTH CHAPTER.
The
entire system of Chords.
The various forms under which the fundamental chord,

as a concord
viz:
the triad
appears.
The major
triad,
the minor triad,
the diminished triad.
Radical chord.
m
4
st
permutation
<5i
the chord of
the Sixth.
6
2d permutation
the chord of
Six-four.
Beethoven, Studies.
32
-^
FIRST SECTION
The various forms under which the second fundamental chord
Radical chord of
the Seventh.
1st permutation,
forming the
<
chord of Six-five.
Sd permutation,
forming the chord
of Six-four-three.
3rd permutation,
forming the Chord

of Six- four-two.
.-
viz
the
real chord of the Seventh, appears, together with
'll
its
three permutations.
FIRST SECTION.
The Discords shewn in this table are called real or necessary Discords,
because they always maintain their position, and do not momentarily usurp
the place of another interval, or can be regarded as suspensions. They
may occur both in the rhythmical and unrhythmical parts of a bar it is not
;
always necessary to prepare them, and they are in general resolved over the
bass-note which immediately follows them. There are many other Discords
besides those given in the above table Discords in which certain tones are
;
substituted for discordant or harmonious intervals,
and which have the
effect
These chords are termed suspensions, and may, for the most part, be omitted without involving a faulty
to distinprogression. They should properly be called accidental Discords
of delaying or suspending the next chord.
guish them from the real ones. They should always be prepared, on account
of their harshness, and only occur in the rhythmical or accentuated part of a
In the free style of composition, however, they are sometimes used
without preparation.
All chords which are originated by suspensions may be subdivided:
bar.
st,
which there
into chords in
2dly, into chords in

Srdly, into
is
only one interval of suspension,
which two such
intervals occur,
chords in which three or four such intervals occur, without
including the bass,

4thly, into chords in
these
however
which the suspending
interval lies in
forms the root of the subsequent bass-note
is
the bass
harmony which
are termed also anticipations , because the
played beforehand, or anticipated.
SIXTH CHAPTER.
Chords with one interval by which the
The chord of the Ninth
triad is
delayed
This Ninth, here changed into a Second,
between these
intervals
which sound exactly
clearly
alike
shews the
difference
the difference consists
not only in the dissimilar forms of accompaniment, but in the circumstance

of the Discord, where the chord of the Second occurs, always lying in the bass.
The chord
by
of Five-four
or curtailed chord of the Eleventh , designated
the figure 4, and sometimes
by
The
suspended by means of the Sixth
Fifth
The arch over the figure 6 is here very appropriate, for the sake of
marking the distinction between this form of the Sixth (where it occupies a
permanent place) and its passing form, as for instance
:
The octave
major Seventh;
of the triad is also occasionally
suspended by means of the
e. g.
"
Here the difference between the major Seventh and the real Seventh
(which descends by a tone)
is
observable*).
FIRST SECTION.
Chords with one interval by means of which the chord of the Sixth
suspended
The chord of Nine-six
is
e. g.
fl
- -f
The suspension of the Third by means

the Sixth
rff
43
&
343
^=f==&
Sometimes
5
Pf^f
also the Sixth (in the chord of the 6th)
the Fifth
6
where
in the chord of
viz
is
suspended by the
e. g.
Seventh;
And
of the Fourth
gives rise to a discord of the Six-four chord
the
76
same
this interval
is
also
used as a
suspension of the 6th.
liberty
may be
suspends
if
cs
taken with the Ninth (or Second) in cases
(or delays) the
jar
mg>
Tenth
(or Third)
e. g,
S6
same way the Fourth
In the
by
the Fifth,
in
the Six-four chord
or by the Third
When
may be suspended
e. g.
the Sixth in the | chord
must ascend
is
suspended by the
Fifth,
the former
Chords with one interval by means of which the chord of the Seventh
is
suspended
The chord of Seven-six
The Third
Fourth
in the
e. g.
chord of the Seventh
may be suspended by
the
-H-^p--j
}'
The chord
M-jH
I
-g-j
of Nine-seven, e. g.
r
rr
r~r~"
fj-*-J-igj sometimes too
f~"
"|
?
the Sixth sus*-vrt*^J^
*l\rt C*-l
pends the Se-
venth.
Jl
67
T
^^
oo
745
r
i
-u
FIRST SECTION.
Chords with one interval by means of which the chords of Six-five,

Four-three, and chords of the Second may be suspended; e. g. the Sixth is
suspended by the Seventh;
(in the
chord of
.)
In the free style of writing
<
The Fourth
and Seventh
^
alone as
suspension
58
FIRST SECTION.
In the free (or florid) style thus
(Laugh,
The chord
by
my
friends, at such a coxcombical passage!)*)
suspended by means of two

and Ninth,
of the Seventh
the Fourth
Sixth
diminished Octave
^J
Sixth;
and Ninth, and
-T-!
e. g.
intervals
Suspensions of the chord of the Second
1
I
-4
-*
^3=1
Ht=gd=g
Ffa?
'-FEE?-
i-
EIGHTH CHAPTER.
The triad suspended by means of three or four intervals. The greater
which might be more properly termed
chord of the Seventh: I,
I, J,
,
the chord of Nine-four
e.
g.
=**!=
342 323
In four-part writing the Fifth

e.
is
8
5
<
'
taken instead of the Second (or Ninth)
g.
=r-|
IT
-^
5
c=1
This Fifth
be taken
or the Sixth which
in as a fifth part in the
is
to
be resolved downwards
^g
g-4
the Second
2
I
When
made
to
the
harmony
accompany
is
may
also
instead of the
34
II
is
omitted
often
21
harmony.
o-
in three parts,
the Seventh
*r_
Slxth
8-
only the Fourth or Second
the choice depends
upon circumstances
is
:
FIRST SECTION.
fc
61
NINTH CHAPTER.
Chords
taking their origin from a change of bass,
termed Anticipations.
in
four,
bass:
Anticipated triads
which may
also
be
chords of the Sixth and of Six-
which the suspension or the accidental discord always
lies
in the
e. g.
I
The harmony
in the three last
examples
is
known by
mination of the Five-two chord.
the peculiar deno^B^
Anticipated chords of the Seventh, Six-five, and Four-three.
Tins anticipated chord of Six-five

chord.
is
commonly
called the Five-four-two
62
FIRST SECTION.
In
all
these cases of anticipated harmonies the bass has been seen to
precede them there are, however, certain exceptions to be made in cases

where chords of that kind are used (generally in quick time) through the
;
medium
of the irregular transitus, or passing notes of permutation
e. g.
TENTH CHAPTER.
The chord of the Ninth is produced by the addition of a Third taken
below the fundamental note of a chord of the Seventh e. g.
;
ffeEjZ^pIj
64
FIRST SECTION.
the Third and Fifth the greater chord of the Seventh, a very
By omitting
common one
is
produced
I
Another chord of the Seventh
Ninth
is
produced by leaving out the Third and
which,
when
occurs upon the Domi-
it
nant, or Fourth below,
allows of the following permutations, the third of which

the chord of Five-four-two
The chord produced out

the Seventh and Ninth, A\
v-w
the
first
transposition of
it
generally termed
is
of the entire
n __
ff
\\
is
harmony
of the Eleventh, without
not very useful in that form
but byJ
|r
we
obtain the chord of Nine-six
The chord
Fifth
of the Thirteenth is produced by the addition of a Seventh,

and Third taken below the fundamental note of the radical chord of
the Seventh;
e. g.
-U.--fz=
&
complete, as
it
here stands, viz
in 7 parts
it
is
considered impracticable
65
some of its intervals are therefore omitted. The following chords, which arc
based upon the harmony of the Tenth and Third, are in general use:
3L_
This chord (that of the Seven-six) seldom occurs except
minant;
e. g.
in like
manner
also the
choYd of Seven-sixfour:
IIS^M
6
upon
the
Do
FIRST SECTION. SYSTEM OF THOROUGHBASS.
cc
The connecting intermediate chords may

allowable to
make chromatic progressions
in the
also
be omitted, and
harmony,
next example, provided that consecutive Fifths be avoided;
as
shewn
e. g.
it
is
in the
SECTION
II.
FIRST CHAPTER.
Of the elements of
There are two kinds of tones
dissonant
the former
or musical sounds
when combined
we
discord*] Of the former

Sixth,
scientific composition.
and Octave:
possess five, viz
some
of these
viz
consonant and
and the
latter
the Unison, the Third, Fifth,
are perfect, others imperfect.
Unison, Fifth and Octave are perfect; the Third
and the Sixth are imperfect;
produce harmony
(as also its
The
Octave, the Tenth)
this catalogue includes all the various
phases
under which they appear.

They are called perfect because they cannot
be raised or lowered by a $ or a j? the Third and Fifth are called imperfect
because they may be raised or lowered at pleasure, i. e. may be made major
;
or minor.
The remaining
(together with
all
intervals, the
Second, Fourth, Seventh and Ninth

and the above-
their forms in combination) are Discords
mentioned Concords immediately become Discords on being removed from

their perfect or imperfect position, i. e. on being made diminished or extreme.
A great difference of opinion exists .among theoretical musicians on the
subject of the pure Fourth; which, being placed between the perfect and
imperfect Concords, may be classed either with the former or with the latter.
Strict theorists,
and such
Fourth a Discord.
Fourth
is
There
as retain antiquated views of the science,

is
no disputing about
combined with other
tones,
it is
tastes
to
my
ear ,
term the
when
the
not in the least degree discordant.
what is here called a Discord is only dissonant

*) These are only relative terms
or unpleasing to the ear when not combined with other notes which can metamorphose it into a chord that shall please the cultivated ear as well as the Octave or
;
even the Third.
P.
5*
08
SECTION
II.
composition is based upon these elements and these intervals, varied and combined, both as to their position and their movement (i. e.
the progression from one interval to another) are the materials with which
All musical
the
composer has
to
work.
The movement (motusj
motus contrarius, motus obliquus.

The motus rectus, or direct movement,
is
of three kinds
rno-
tus rectus ,
is
thafr
which
is
produced by
two, three, four, or more parts (voices or instruments) moving either up or

down, by adjacent or distant intervals , together, i. e. in the same direction
:
e.
g.
('r
69
from one perfect Concord to another, equally perfect, the probe made by the motus obliquus or contrarius e. g.
must
gression
1st;
==
r r
2dly; in a progression from an imperfect to a perfect Concord the
lus contrarius or obliquus is also to
be used
ir
in moving from
3dl-y
movement may be used
;
of
4thly
The
ii
a perfect Concord to an imperfect
all
three kinds
e. g.
the latter rule holds good in
to another equally imperfect
mo-
e. g.
moving from one imperfect Concord
e. g.
motus contrarius and obliquus is to

and that the motus rectus is only
to be avoided when a pertect Concord
jfollows one that is imperfect, or when
two such Concords follow each other. Upon these three kinds of movement
result of these rules is that the
be used in
rests the
all
three cases of progression
whote system of harmonization.
70
SECTION
II.
SECOND CHAPTER.
The word Counterpoint means dot agaiust dot because our forefathers
especially for
(or points) instead of the notes which we now use
,
used dots
the antient choral chants
phrase
which they wrote down
in this
manner.
The
latin
punctum contra punctum (point against point) or nota contra notam
is
(note against note).
THIRD CHAPTER.
Of the
five different sorts
of simple Counterpoint.
The first species, in which only one note of a similar description is placed against every other single note, is the most common; it is indifferent
whether the notes in the composition be Semibreves, Minims, Crotchets or
The Allabreve-measurement
Quavers.
of the bar
is
however, the most
convenient and useful for the beginner.

In the upper part, which is written to a given bass, every note must
be either a perfect or imperfect Concord; the first and last note must- always
be a perfect Concord.
is
Here the three methods of progression may be used alternately, and it

and safer to use the motus contrarius and obliquus as much as
better
possible
for these
two forms
of
movement
are far less liable to errors than
motus rectus, which last demands great attention and

as will be seen by the examples.
the
With respect
that
when
careful treatment,
necessary to observe
the cantus firmus (canto fermo, or plain chant) lies in the lower
to the conclusion of the piece
part, the last note but one of the counterpoint
it
is
must be the major
Sixth;
if,
however, the plain chant occupies the upper part, the penultimate note
must be the minor Third below, after which the cadence or close is to be
made
in the Octave or in the Unison.
These two'intenals may also be used
commencement, as also the Fifth though not in the lower part, because then the piece would not begin' in the key which properly- belongs to
at the
it.
None
of the last-named intervals are allowed consecutively in course of
the piece.
In the second species of simple counterpoint the notes are written in
two
half bars, or
two notes are
whole bar, or to a Semibreve. These

by the Greek words Arsis and Thesis,
the up-stroke and down-stroke in beating the time. The
two minims
to a
technically distinguished
and correspond
to
71
in Thesi must always be a consonant interval the other

dissonant if the progression be gradual, and consonant
be
may
the progression be sudden, i. e. to a distant interval. It appears then that
minim which stands
minim
if
in this species of simple counterpoint except
no Discord occurs
which
space (or interval)
up;
in Arsi
when
between notes separated by a Third
lies
the
is filled
e.'g.
This
filling
up
or the note in Arsi
may sametimes
as the following example of a concluding cadence
also
shews ,
in
be
jn
Concord,
which the
note in Thesi must be a Fifth, and the second -in Arsi a major Sixth,
the plain chant
lies in
the bass; but should
note must in like manner be a Fifth
minor Third
\.
it lie
in the
first
when
upper part, the
first
while the second note must form a
e. g.
Plain chant!
It is
advisable to give especial attention to the two last bars (the ca-
dence) and to bear them well in mind
For the sake of

a
minim
when
constructing the plain chant.
counterpoint the composer
facilitating the
rest in place of the first note
and
is
allowed to write
to take intervals
as distant as a
Sixth or an Octave, (to prevent the parts from approaching each other too
nearly)
or to
highest of
them
let
these
shall lie
distant
below
intervals
cross one another, so that the
and the lowest above.
Great care must be
taken to avoid two consecutive Fifths or Octaves in Thesi,

rated in Arsi only
by
the space of a Third
93
53
e. g.
86
86
which are sepa-
SECTION
II.
ithly,
when
the cantus firmus lies below
the Seventh (although that
is
it is
allowable to descend from
a Discord) to the Fifth, premising that the note
which occurs before the 7th must always be the Octave;
ti
(___
_|_
e. g.
SECTION
When
II.
the canto fermo lies in the lower part
the counterpoint
must be so contrived
the last bar but one of
that the final note, preceding the
tave at the conclusion of the piece, shall form a Sixth
But
if
the canto fermo lies in the
upper
Oc-
e. g.
part, the counterpoint
must be
that the final note of the last bar but one shall form a
so
managed
after which the Octave forms
The fourth species
bind
is
serving
by
a bind;
the
identical
first
(upon
the
two minims against
same tone) and are connected
note being in Arsi, the second in Thesi. This
called ligatura or syncope,

to
e. g.
of simple counterpoint consists of
one, which two notes are

together
the close;
and may be of two descriptions, viz: as
connect Concords or Discords.
In the first case
it
is
placed over
the two minims which both in Arsi and in Thesi form Concords with the
plain chant, e. g.
In the second case the
Concord, but the second
minim
first
if
out,
e.
g.
we
all
imagine the second note
must invariably form a
e. g.
ISC
for
(in Arsi)
(in Thesi) a Discord;
II
G\
to
be
obliterated
or
it
be
really left
three of the intervals form a harmonious (consonant) progression;
In accordance with this rule the Discord

into the Concord,
intervals,
as has already
When
must gradually resolve
but the Concords thus bound together
may move
in
itself
wider
been seen.
the plain chant lies below,
the Second
must be resolved
into the
Unison, the Fourth into the Third, the Seventh into the Sixth, and the -Ninth
into the Octave, the Sixth,
falling
77
upon
|f
which
the last bar but one
=--
is
;
retarded
e. g.
by
the bind
upon
the Seventh,
76
SECTION
It
II.
remains to be observed that when, as
it
often happens, the bind
cannot be made use of, the same bar may now and then be
two notes struck separately, without the ligatura.
The following progressions are forbidden
filled
up with
77
with exception of those cardinal rules which in the
in short,
are inviolable
viz
strict style
none but perfect and imperfect chords (Concords)
that
are to.be used, and that
counterpoint
this style
may be
all Discords (as

florid
chords) are excluded,
regarded as a more unfettered class of composition in
and as allowing of more variety and caprice , also of more meloThe bind may be used with peculiar advantage,
dious vocal part-writing.
and
is
therefore strongly
The cadence, or
bar,
above
is
that of the
recommended.
close, in the penultimate as well as in the
concluding
second species already described, viz:
==
ij===:
below
FOURTH CHAPTER.
Examples
in the five different sorts of simple counterpoint.
In
two parts (a due);
FIRST SPECIES
with remarks thereupon.

:
nota contra notam.
NB.
lunterpoini.
\L<
NB.
78
SECTION
II.
contra Fa est diabolus in musica," refers.
bidden, as
my
in
opinion
succession of Thirds
song
that a
pas-
in
if
musica"
(as the old writers termed
two-part harmony:
the
harmony be written
but that objection

in four parts
is
e. g.
E to F, in this case at all harsh.

be avoided, because they produce a vulgar singmanner a succession of Sixths; extreme-Seventh-
do not find the transition from
no doubt
the extreme Fourth
this ,,diabolus in
sounds somewhat harsh
removed
is
also the simple
is
cannot be denied that
it)
is
and the major Sixth*)

and on that account may be forUnison in course of a piece in this style and
the Tritonus
it
There
and so
like this is difficult to sing correctly
sage
effect;
and
in
is to
like
and those which extend beyond the Octave must
intervals
also
be termed
incorrect.
Cantus
firmus.
Counterpoint.
&
Cantus
firmus.
..^..
\-<s>~\ -?.
flj
Cantus
firmus.
Counterpoint.
The major Seventh,
called the leading tone , or nota sensibilis, ought

be doubled; partly because it sounds harsh to the ear, and partly
because it must naturally in accordance with its very nature ascend and
never
to
*) I translate this as
stress
it
stands
it, I
may
any beginner who might lay

a mistake; there is not the least
but, for the sake of
as well say roundly that it

difficulty in singing the interval of a major Sixth.
upon
is
P.
79
would thereby produce pure consecutive Octaves in both parts. This interval (c jf in the example) may appear under various forms and always serve
to
introduce the modulation into another key
e. g.
^s
IE
>t
(As leading tone to
tone from B minor.)
D minor.)
(as 4th
(as 4th
tone from G minor.)
tone from Gtiminor.)
(as
1-
S,f
(as
second
6lh tone from F minor.)
SECOND SPECIES,
of simple two-part counterpoint.
NB.
Counterpoint.
Cantus
firmus.
-sa-
ipi
fe
NB. This
interval is difficult for the singer to hit
and should therefore be
avoided. *)
Cantus
firmus.
^^^T^"^^
8
36
34
35
86
32
Counterpoint.
*)
It is
easy enough to sing, but the passage
is
bad,
and
offensive to the ear.
P.
80
SECTION
In this case
it
is
better to
make
Thirds, Sixths, and Tenths,
fall
those which are perfect, viz
Fifths
unter-
upon
II.
the
imperfect
consonant intervals,
the accented portion of the bar, and
and Octaves
upon
the second note.
NB.
Counterpoint.
m
NB. here the lower part rises above the upper the Sixth is symbolized
(although it sounds like a Third) because the interval is always reckoned from
;
the bass. In the last bar but one the Third

a license imperatively
demanded
produce an enharmonic mi contra
for
if
is
prepared by means of the Sixth
the orthodox Fifth be taken,
three notes proceed consecutively
regular the rule
is
to
be
strictly
would
fa.
In cases of triple time (as below) the middle note

all
it
when
but
observed
.;
may be
a Discord
if
their progression is not so
e. g.
108
not by force but by constant

Knowledge can only be acquired by unwearied diligence we may
well say ,,nulla dies sine linea", no day without a line every day that we
(Continual dropping wears out a stone
attrition
spend without learning something is a day lost. Man possesses nothing so

till tomorrow
costly and precious as Time.; therefore let us not postpone
what may be done
today.)
In the severe church-style

the composition
is
Beethoven, Studies.
(in
which
all
sacred music should be written)
intended for voices only, and on that account the harmony

6
SECTION
82
is
and imperfect chords, in order

extreme ones
restricted to perfect
be easier
II
to sing than the diminished or
that the intervals

in this style
may
also
it is
forbidden to use two indentical notes in succession, as for instance, cc, ee,
gg,
etc.;
but
this rule also
has exceptions, viz: in cases where the ligatura
rupta, or interrupted bind, occurs
(in
and again,
the
e. g.
fifth
species)
where several notes are repeated (in vocal music)

words composed of several syllables; e. g.
in cases
sake of uttering
Glo-ri-a
in
In the free style,
ex
eel - sis
which allows
this,
ex
- eel - sis
De
- o!
of Discords in Thesi, two notes against
one are treated: 1st as follows: the
second a Discord;
in
for the
first
as aforesaid,
is
may be
note
a Concord, and the
called the regular transit
21y,
may be a Discord, and the second a Concord, thus forming the

But these Discords do not belong to that class termed accitransit.
irregular
Real Discords must be prepared by the harmony preceding
dental or real.
the
first
them
note
and resolved by that which follows them the Discord as well as the
same may occupy one or more bars and similarly the
;
resolution of the
harmony which prepares the Discord may take up a like or unlike number of
bars; i. e. The resolving harmony may occupy more, but on no account less
bars than the harmony which prepared the Discord. Accidental Discords must
be prepared in the same manner, but their resolution differs in one point;
inasmuch as real Discords are resolved o'nly by harmonies which follow
them, accidental Discords by the self-same chord. Discords are then of three
kinds: 1st, of the regular and irregular transit
21y, real; 3dly, accidental.
;
means are produced consonant and dissonant harmonic combinations

with one or more discordant intervals.
By
this
THIRD SPECIES
of
two-part simple Counterpoint.
Canto
fermo.
Counterpoint.
g=E
Counterpoint.
EEEfEgS^'rgEÊÎl^gg
3.1
8786
3456
109108
6567
Cantus
firmus:
NB.
ffi
,5?
Here, at NB., the major Sixth (Springing from C to

two notes of the bar than in the
ter effect in the first
above) has a betCare
latter half.
to avoid monotony (monotonia) viz

a repetition of the same
passage in two consecutive bars, the bad effect of which is not lessened even
must be taken
by changing tha ground-note

^
e. g.
84
SECTION
-<s>
IF
NB.
dnitus
firmus.
Counterpoint.
At NB. the Fourth descends to the Sixth by a praiseworthy license

all four notes lie in the chord, and are therefore easy to sing.
because
Counterpoint.
B
ft
#3
?1
6367
Cantus
firmus.
NB.
HJLK
'\
169108
83
some remarks upon the
viz
a note thus bound
:
ing
it
which
is
resolution of such Discords (resolutio dissonantiarum)

is
then set
nothing more than a retardation of the one followat liberty by descending to the next Concord, i. e.
the note immediately beneath
it
himself of this ligatura at the
way it is resolved. In
commencement of the piece
;
in this
must write a minim-rest occupying the
half of the bar
first
order to avail
the
r&L
Counterpoint.
&
Canto
fermo.
36
76
s
76
78
76
38
79
Canto
i
fermo.
rCounter-
point
13
1323
63
Here:
Counterpoint.
Canto
fermo.
m 910
at
NB. a license
is
taken
the the entrance of an
&
~
T~~n
23
the Fourth descends to the Sixth, for
the sake of avoiding a succession of Fifths in Arsi
by
910
4-6
:ÊpEEtÊS^?=S
effected
composer
e. g.
unbound note
this
might also have been
in Thesi.
iH
SECTION
II.
=t=
:t=d=
Canto
fermo
'I
108
esdtft:
Counter-
10
point,
FIFTH SPECIES
of two-part simple Counterpoint.
Counter1
point.:
Canto
fermo.
^F^F^^r^^-N^^fe^P
67
Canto
|
7365 3567 636
10
In former times,
when
of counterpoint
italian
differed but
criticise
it is
let
now
is
How
will a future age regard
subject to change, and, alas
is
clear that only
works
of sterling value
and
and
to the caprices of fashion,
intrinsic excellence
can sur-
these alone can bid defiance to mutability and false taste. Therefore
the composer, the Poet of sound, disregard the. passing
resolutely to the imperishable laws of the Beautiful;

slave of fashion nor of pedantry
also never forget that
of diligence.
The
Here the
it
;
motto
species
is
cling
neither the
!
let
,,Life is short,
introduced up to the
last
Art
is
us
want
long."
bar; the second
must not be used beyond the extent of a few bars. Two quavers
in the unaccented portions of a bar, and a Minim is better
third
may
only be used
placed at the
commencement
than in the middle of a bar, unless
nected with the bar following;
(bad)
(good)
false Fifth is also forbidden.
the key of the piece allow of
when con-
e. g.
(good)
The
is
for superficial learning or
persevere:
may be
mode, and
true Art
soars triumphantly above both
no genius can make up
artist's
first
and
if
to this species
called vocal roulades or
the most admired works of our favourite composers? Seeing that
almost everything
vive
accompaniment, permitted
from what
little
Tempora mutantur.
bravura.
was shackled by the strictest
the art of composition
rules of pedantry, the ornamental
it
;
To
this rule
(tolerable)
an exception may be made
for insfance * in F.
major
in
to
which form the
my
flat
5th
is
more agreeable
ear than the pure 5th
-H
88
SECTION
Many of these
rules appear to be more pedantic,
sonable, than they really are. At the time
was
when
and therefore more unrea-
they were made, Music, as a
infancy;
harmony was known, and
were not supported, as now, by the orchestra: so that the com-
practical art,
the singers
II.
in
its
little
besides vocal
poser could only display his scientific acquirements by an intricate and often
heavy combination of parts; melody was neglected and indeed nearly unknown
the solemnity of the words which were set to music demanded
;
which
a certain gravity
easily degenerated into tedibusness.
Moreover these compositions were at first intended for performance in

the vast churches of Italy, in which anything like sudden and bold modulation
(such as
is
now common) would have
produced confusion.
It
disturbed the unity of the whole and
would seem then
old masters
that the
must have
considered the matter deeply, and that their calculations led to a very just
that the simple choral-tunes which they used (or invented) ought
result, viz
:
not to be otherwise accompanied than by the simplest and purest harmonies,

to the total exclusion of chromatic modulations and such artificialities
plain
:
chords
one springing naturally out of the other, ensured a clear and impo-
sing effect in those mighty temples, in
combination would have been

recpiired of the
that
composer
lost;
whose echoing
aisles a
we must remember
he should avoid
more elaborate
too that the singers
difficult intervals
all
which
might endanger the purity of their intonation. But while we acknowledge

that the old masters were fully justified in adhering to simplicity, we cannot
them
desire to imitate
their blind obedience to arbitrary laws
in
some
of
which are mere millstones round the neck of Imagination, only serving to
frighten the beginner and impede his progress. Time goes on, and what sufficed for
one age appears
be supposed
to
to the
next as a woeful short-coming! Let
me
not
advocate an impertinent contempt of the great principles
of Art, which are unchangeable; I would only say that as time advances Art
has also advanced in many things Invention and Fancy must not be denied
:
the rights and priviledges
of
which schoolmen
theorists,
would gladly deprive them. It would also be absurd

the narrow bounds in which antient Art was forced
modern composer
command? why
hesitate
to
use the
restrict himself to
ments and voices are able

perfect accuracy?
And
yet
far greater
and barren
critics
to confine ourselves to
to
move why should

;
resources placed at his
an antiquated simplicity when both instrumost abstruse conceptions with
to interpret the
I
would advise a composer rather
to
be common-
place than far-fetched in his ideas, or bombastic in the expression of them.
Counter-
Canto
fermo.
Canto
(t^Pl=l=l
fermo.
'.
Counter-
-&
(|îfc
point.
910
963
-*-
FIFTH CHAPTER.
Of
Rule
viz:
3
i
the
first
species of three-part simple Counterpoint.
every chord
and
--
1^3
means the seventh major
to contain a perfect or imperfect
is
or one
of these
intervals doubled,
tone, or nota sensibilis.
to write occult octaves, Fifths
and Unisons, provided
In two parts
T'
gr~
up
^r
triad
but by no
it is
allowed
(hat the third part
in a contrary direction, or that the interval of a Fourth is taken
T[
harmonic
moves
by the Bass
e.g.
II
90
SECTION
These occult
be
filled
up
II.
be clearly seen if the intervening space
faulty progressions will
The incomplete chords
(writing the intervals in small notes).
are only permissible at the beginning or end of the piece, and are forbidJ
| |
den in the middle of it, similarly to the chords | * and other discords of that kind.
Care must be taken to secure a pleasant flow of Melody, and to avoid

vocal intervals, endeavouring to keep the voice- parts within the
difficult
compass of an octave. For the sake of variety it is well not to use the same
intervals too often, and to mingle perfect and imperfect chords together.
The cadence
or in the middle
at the last
bar
is
only in case of
lowed, and then the chord of
made by
its
must precede
when
the plain chant lies above
lying in the bass is the

it;
pure
triad
al-
e. g.
Choral
Chor.
CH-
It
all
will
&
be seen therefore
<SL
II
that the Cantus firmus
the parts alternately; but in this case the clefs
melody transposed accordingly,
to
II
prevent
it
may be
carried through
must be changed, and the
from lying too high or too low.
Cantus
firmus.
Either the major or the minor Third

Cantus
firmus.
may be used
to
form the close.
iH
=r^zp^q+izi==F==i:
-L_L_
9<S>\ 73
~f
EtEEEEEE=EEE=^.-d:
&
6
Cantus
<
10^10
10
^H? 33336
firmus.
9t
10
1010
1010
firmus.
SIXTH CHAPTER.
Of the second
Here again
species of three-part simple Counterpoint.
as in Bicinium ,
third or ripieno part is
Two
chant.
octaves,
two notes are placed against one, and the

of notes equally long with those of the plain
composed
and Unisons, are allowed
Fifths,
in the middle parts,
divided by the interval of a Third, but they are considered faulty

in the
upper or lower parts
is
better
when
if
occurring
e. g.
Good.
It
if
Bad.
Bad.
these faulty progressions occur in the unaccented
portion of the bar (in Arsi) e. g.
=%=
;
:_j
1=
92
SECTION
(The effect
certainly not quite so unpleasant, but
is
cannot approve of
It is
it.)
instances: a Discord
may be
which
latter
may
may only
in the first bar
and
in
must always be on a Concord the upinclude Discords, and also Unisons

,
near intervals
occur in Thesi as forming the
at the close.
No Discords,
first
and
last
note
i.
e.
as taken in distant intervals,
The following cadences
Chorale.
I
Chor.
Chorale.
3=^=P
M
bad, and
placed between two Concords of similar name;
are allowed except the diminished Fourth and Fifth.
may be made
still
also permitted to begin with a rest, as in former
the downstroke of the bar (Thesis)
stroke (Arsis)
II.
95
Canto
fermo
36
87
34
3S
04
108
58
23
15
Filling-
im
lip
\
B
<
Counterpoint.
Counterpoint.
33234
34
56
36
31
87
56
Canto
fermo.
>
-&>-
Filling-
up.
As
will have been seen from the above, it is customary to use the
and
more easily read symbols 6 4 , and 3 instead of the double
simple
figures 13, H, and 10; more especially as the distance from the bass causes
,
no
alteration therein.
Counterpoint.
3856
Filling-
lung.
Canto
fermo.
Fillii
illing-
up
Canto
fermo.
Counterpoint.
3856
8634
-&
-\-^ ~
f^ -
SECTION
II.
&
Canto
bziz2:==iz|i
fermo.
OLSizti:
83
=^P-
63
33
6854
685
33
3$ ==33
835ff
8387
Counters
point.
365
1
Filling-
^~
up.
t|
-jfc2_
~
..
In varying the position of the plain chant (thro* the different parts)
it is
adviseable to transpose an octave higher or lower; for instance, changing
an Alto into a treble
Soprano part;
(violin-clef) part,
or into a bass part; or a Tenor into a
etc.
^SE
Counterpoint.
32
[72
J5
[?6
86
[?5
326
56
Filling-
up.
68
53
53
33
*o.
-<s>
Canto
fermo.
Filling-
up.
BPE
gy
3
Canto
JIF2
m^
4
fermo.
-4
~^~
^g
S3
34
SEI-ô^
gu_ q
,_
"I
Counterpoint.
r _i?-
cznr
Canto
^=
fermo.
Counterpoint.
<
L-iJid
i
1
up.
=^=I^^S^H
G/
3213
Filling-
^l
il:
653S
8735
:^<
65^3
if-2
:=|igrrE^z^âr-^^=ig:^=g
I^j
The
last
transposition of this Chorale might be
made
for the sake of
,
.
variation, in the following
Canto
fermo.
manner.
r&E
Counterpoint.
218
9435
r>
Filling-
up.
SEVENTH CHAPTER.
Of the
third species of three-part simple Counterpoint.
Here particular attention

If
is to
be paid
to
those notes which
the harmonic triad cannot be introduced on the
composer must attempt to

only to be used progressing
do so on the second or
third.
in near intervals, step
step,
the unaccented portions of the bar.
examples
by
fall
in Thesi.
crotehet in Arsi
first
the
Discords are
and
falling
The cadences may be modified as
upon
in the
Chorale
(Passing note.)
\\^ t^H
^^
10876
8756
9G
SECTION
The three last examples are

ded by means of distant intervals
upon the accented

Unisons
faulty,
;
also
II.
because Discords are taken and avoi-
because the octave
is
suffered to
fall
half of the bar.
Fifths
and Octaves may occur in the middle part provided

by intervals, and one of the two other parts has a
,
that they are separated
contrary movement.
Counterpoint.
Canto
fermo
fe=
>
Filling-
up.
'-f-0
In transposing the choral chant the composer should seek to introduce
new
harmonies.
q==^p
H
1-
Canto
fermo.
Filling-
up.
Counterpoint.
1=4
98
SECTION
II.
n
S87G3213
438795
Counterpoint.
l_.,.,._
^z
Canto
fermo
-2-
-_.-.
535^68^765
ft
b*
6 ,<
^*
5^436556
*10
Filling-
up.
c~\
10
EZ
||
|_ffl
&.
99
100
SECTION
II.
e^
point.
1076
"?:
Canto
76
&*
^5
gggrgag
35
76
Counter-
76
__<2
fermo.
Filling-
j5flF^=f
up.
^
8
!Ei==i=i
In this example the ligatura of the Seventh occurs too often
this
evil
might have been remedied by a few Concords boldly introduced between.
The oblique strokes
indicate occult Fifths.
Canto
fermo.
Filling-
up.
Counterpoint.
23
23
JSL
45
^^
- i"~t
el
68
83
,
35
J
P^
I
23
^-^
35
45
23
.
23
45
45
Here also the ligatura upon the Second
is
101
too freely used.
(The nume-
rous instances of retarded Fifths are not considered faulty. Very strange
with all respect for the learned doctors they sound to my ear vastly unplea!
sant
Filling-
up.
Counterpoint
Canto
fermo.
76
76
86
_L^._ T_Z3:
counter-
38
g
76
76
5
'
-f-^
f-'
78
|_^_=i
102
SECTION
II.
105
The same Chorale varied by means
rent bass
of different counterpoint
and
diffe-
Canto
is::
1'ermo.
Counterpoint.
Filling-
up.
ti
I:
i04
SECTION
Canto
tf
&
-~T
II.
"T*5
T"
-G>
fermo.
34
67876
Filling-
6789
!)
T^
1-*-"
-;
up.
9
104543
8234
67
Counterpoint.
H=
it
(i
'I
indeed a faulty kind of close, or resting -point,

minim D, in Arsi but the tault is in some degree
which
the
bind
carries it on to the next bar.
remedied by
At
this
NB. there
called a incision
viz
is
the
Counterpoint.
8
Canto
fermo.
Filling-
up.
.1
'i
898
35123
3109
s
85
105
-a
Filling-
up.
Counter'
point.
543
76543
1365
89
&
n
Canto
fermo.
108910386
586
73G
787656
Counterpoint.
5
6785678
38
C*[
<
~f=^
Canto
fermo.
r- &-
Filling-
up.
8653
b-t=?-^-:
too
storm.
SECTION
II.
The close with the major Third gives
feelings as
when
gaze upon
me
the
same
the soft light of the evening-star.
tranquillizing
*)
Filling-
up.
5687
5432343
3465
3214565
Canto
fermo.
1
34.58910
Counterpoint.
btf
-r'^-^NEE^r-p-r-r-r^g
-OL.
55
67
32
34
107
determined for once to
myself of the old

an exception) and
therefore began with a Sixth, i. e. wrote an imperfect chord in the first bar,
where ex officio (by rights ) a perfect chord should stand. But I solemnly
pledge myself not to commit this mortal sin again (though I can't say that
Here a licence occurs.
avail
,,nulla regula sine exceptione" (no rule without
axiom
repent of
it)
and
in
making
a four-part composition of
will not fail to
it
write the Third, A, under the Tenor C, which will produce a complete
Quadricinium then I shall have appeased the angry gods , I mean the learned Thebans or pedants, who must then, nolens volens, acquit me!*)
:
TENTH CHAPTER.
First species of four-part, strict, simple Counterpoint.
Here every chord

belongs
to
is
to contain
a faulty progression
may be doubled
fourth
interval
which properly
provided that neither one nor the other be leading tones.
A judicious
use
important
indeed indispensable
the
where the Octave cannot be used without involving

the Third, and sometimes (but not often) the Sixth
In cases
it.
.of
the three kinds of
as standing in relation to
movement (motus)
will
be found very
be paid to the parts

the groundbass or foundation, and also to the
;
attention
relation of each single part to the other
must
for the
also
plain chant , lying in the
form legitimate harmony with the bass and

,
upper part , may,
a
yet produce
faulty progression with one of the middle parts- at the same
time there are cases which render it necessary to write occult Fifths or Ocfor instance
taves consecutively
this is
an
evil that
must be endured now and then
very important to let each interval occupy its natural position and
not to force it into another which would disturb the smooth flow of the
It is
parts;
it
is
therefore a good rule to look forwards
progression from one bar to another
may be
correct,
when
writing, that the
and
to avoid the
will
be indicated
neces-
sity of
making alterations.
The position which the Concords are
composer by
his natural taste
and
to
occupy
to the
feeling.
The keen irony of this passage (not the only one of the sort) cannot escape
it was not Beethoven's weakness to fancy that all such antiquated rules,
some of which are, like Hamlet's proverb, ,, something musty," were infallible.
*)
the reader;
P.
108
SECTION
II.
Cantus
firmus.
8335333535
538
'*KîF^
1353858
^
I
f~gr
^1
109
ElteE^fe
Cantus
firmus.
Cantus
&
firmus.
38
33
33
58
f==^
Canfws
firmus.
8
'
86
S3
16
s?rz^z:
SECTION
II.
-a
5
38
(6
S3
38
53
83
85
85
38
56
36
33
-2~=
33
antus
firmus.
^^~
83
56
S3
111
38
33
53
Cantus
firm us.
ELEVENTH CHAPTER.
Second species of four-part,
in
which
remain
all
the rules
to the
applied
strict,
simple Counterpoint;
foregoing species (contrapunto a tre)
in full force.
can
Cantus
firmus.
833533853 EEiE^^
5
Filling-
up.
zrc^n
^=f^^9-
:s:
8
51
rg-
Counterpoint.
5
32
31
53
56
38
Fundamentalpart.
::
53
LIZZ
rari^r
In this species
minims
in the last
Ill
it is also permissible to write a semibreve instead of two

bar but one in order to enlarge the cadence with the
,
close of the Chorale.
Some
of the best masters
were
also fond of
making the close
modes) without the Third, either major or minor;
(in
minor
the dreary, colourless
Fifth produces an undecided and gloomy effect similar to that of the

cadence leaving something to be desired and desire is sometimes better
:
than fruition.
Liounter-
point
SECTION
Counterpoint.
Canto
ferrao.
Filling-
up.
Foundationpart.
Canto
fermo.
Filling,
up.
<
Counterpoint.
Foundationpart.
II.
Filling-
up.
Counterpoint.
Filling-
up.
Canto
fermo.
in
SECTION
Filling-
up.
Counterpoint.
Canto
fermo.
Foundationpart.
ff
-*1
II.
II
il
^-,
r?
115
SECTION
116
Canto
fermo.
Filling-
<
up.
Sfe
313 67
Counterpoint.
Tiff
II.
same
as timidity!
misdemeanour.
*)
Satis
pro peccatis: here
is
117
a long defence of a slight
118
SECTION
II.
il
Filling-
-j?^-
up.
Canto
fermo.
Counterpoint.
BEE
j J
356SJ7765
*1
Fundamentalpart.
fi_
8^
S33^
iS
[7*
Filling-
up.
Canto
fermo.
11!)
feli5^=i
pf-^
/=>
(y
j-__
J3
Filling-
up.
Counterpoint.
te^
673213
8765
43-
#3
THIRTEENTH CHAPTER.
Fourth species of four-part
The rule
that the
strict
simple Counterpoint.
harmony connected with the bound notes
consist of three bars cannot always be so accurately observed.
times necessary to divide a bar into two halves
The bound notes

are used
when
removed
It is
always
some-
as will be seen.
in four-part writing require the
the binds are
shall
same Concords which
thus leaving the intervals of accom-
paniment the same, whether the contrapuntal note be bound or not;
e. g.
120
SECTION
II.
ssa
'
SSI
IS
Nevertheless this rule

the
bound Seventh
is
is
often fallacious
'
71
instead of :<
=^
~
f2-
II
when
because the resolution of
would produce a forbidden Discord. The

be
divided into two halves ( the semibreve
accordingly
for instance
is
cannot be observed
it
connected with the Fifth
the ligatura
>
filling-up part
into
must
two minims
as
121
SB
Counterpoint.
58
13
98
39
85
38
43
Canto
fermo.
835
Filling-
IS
-&-
58358585
up.
S
Foundationpart.
&-
~<S~'.
NB.
NB.
&
<y^
2.
^^|
Filling-
up.
3683
Counterpoint.
m=rfcn
J5f,b
-j-g?
In this example
i"^~j.
(at NB.)
i=a?-jp^.
occur two pure Fifths:
'
because
and
to
the complete
of the same.
Counterpoint.
3635
353
r^qpz^g^f^sq^-
1884888.
S8
Filling-
up.
L-<53
Foundationpart.
88
88
this
*j'
Canto
fermo.
ir^^za-j-g.-
interval is indispensably necessary to the perfect chord
harmony
56
i(sr-!Z-
Canto
fermo.
63
8* 88
SECTION
II.
NB.
up.
5
Canto
5833
NB.
m 458058*556
&-&-
Filling-
5646
-&T-
i
i
-&-.
fermo.
Filling-
up.
1
14-5623234531562356
j*
Counterpoint.
At the
first
NB. the Second
is
doubled, and the Sixth, which would
be required to complete the harmony of Six-four-two is wanting.

The second NB. points out the Fourth doubled where, according
rule , the Second ought rather to be doubled.
,
All
to
depends upon the complete harmony, which here consisting of the

whereas in the above instance the Fifth is
Third, Fifth, and Octave
doubled instead of the Octave

this
chord are not complete.
it is
clear that the intervals belonging to
One must not be
too particular about such
imperfections in this strict style of counterpoint; much profit may

be derived from these exercises, which will teach the pupil the various
trifling
methods of combination , and shew him the

at the
same time he
will learn
where
advantage, and where such license

necessary.
Filling
is
to
limits to
which he
is
confined
depart from the strict rule with
not only allowed but imperatively
124
SECTION
II.
FOURTEENTH CHAPTER.
Fifth species of four -part, strict, simple Counterpoint.
In this
as in the preceding species,
the semibreve in the filling-up part into
quires
it.
Canto
fermo.
Counterpoint.
Filling-
up.
Foundationpart.
Ira"
eh
it is
sometimes allowable
to divide
two minims, where necessity
le-
Counterpoint.
Canto
fermo.
Fillinglip.
Founds tionpart.
125
126
SECTION
II.
*s
8
96
Filling-
up.
Canto
fermo
Filling-
up.
Counterpoint.
which
is
the second tone
as taken
the holy Trinity.
This singular
from above )
mode
the perfect chord
in
way, by means
object being to represent in this
127
of writing
is
me
the other
day.)
*{*
Ft=< =|=*=
'
Counter-
2-
.- r>-:
39878
Canto
fermo.
101
'
--|
(
:~\
il
Filling-
up.
tionpart.
m ~~1~ .K
Efzi^^.J 9=^t-|'-J-
point.
Founda-
-l-i
^
J
I*
1*
his
harmonia sine
called
Albrechtsberger related this anecdote to
quarta consonante.
of the purest Tricinium,
61
f^~
t:
5678
33
128
_
SECTION
<s>-
II.
129
910
Filling-
45
up.
23
Canto
fermo.
8
Counterpoint.
*
ife
353
'65
313
23-2343
150
SECTION
II.
FIFTEENTH CHAPTER.
Fourth species of four- part,
simple Counterpoint.
strict,
may be used, which must be resolved according

but the resolution of which need not be immediate , because one
In this style Discords

to rule
by another. The real as

well as the minor Seventh may be struck freely upon the fourth major tone,
and the diminished 7th upon the fourth and seventh major tone. The chrodissonant interval
may be
retarded
or held back
matic or semitone method of progression
IN
TWO
PARTS.
is
also permissible.
FIRST SPECIES.
Counterpoint.
Canto
fermo.
The
to sing
is
fall
of the diminished Seventh, at NB.
and good
because the
correctly resolved
latter
by ascending
to
note
viz:
from
f to gft,
is
easy
as leading tone to the Dominant,
above.
Canto
fermo.
Counter
point.
There
is
also
no compulsion with respect
provided by the legislators of the

forced to abide by them.
strict style
to the
I
SECOND SPECIES.
Counterpoint.
Canto
fermo.
^m
mean
cadences as made and

to say that
we
are not
r,
68
Canto
67
151
&
63
31
fermo.
5363
46
NB.
Counter-
Cfcl.
68
63
/3
*3
point.
106
?5
The
fall
58
109
65
G>~
of the diminished Fifth (at NB.) viz
mitted, because
melodious and
it is
from
f to
is
bj^
also per-
properly resolved by the next note C.
is
THIRD SPECIES.
nm
Counterpoint.
534 3678 354
636
[7
345.3:
Canto
fermo.
't
!
Canlo
fermo
Counter- 1
point.
*'<
1*
tj
:.
r,
3G78
[;
87^65
152
SECTION
II.
m
3
i)+
FOURTH SPECIES.
Counterpoint.
3
fcj
(SI
.8
f.
Canto
fermo.
4$
35
36
76
(g
Canto
fermo.
Counter-
l$=j==
point.
56
S3
FIFTH SPECIES.
point.
<
Canto
fermo.
23
ffh
FrF
155
154
SECTION
II.
SECOND SPECIES.
Filling-
7r4-ri*
up.
Counterpoint.
FfcftES
10
Canto
<e>-
fermo.
r>
Bbn
h*
68
109
r,
109
35
^^-=^=^
FOURTH SPECIES.
a
Filling-
up.
43
Canto
fermo.
5
Counterpoint.
34
155
156
SECTION
IN
Canto
fermo.
8
Filling-
up.
Counterpoint.
FOUR PARTS.
II.
FIRST SPECIES.
157
THIRD SPECIES.
Filling-
up.
Canto
fermo.
Counterpoint.
3231
Founda-
836
1532 5185 3453 543

qt
tionpart.
e
Tfob
*
i
158
Sfeg
SECTION
11.
159
MIXED OR COMPOSITE SPECIES.

2d Species.
7635
4th Spe-
cies.
It
*
910
53
3d Species.
3454 1678 3143- 3165 3585 #7585

Canto
fermo.
167
3857
3585
1361
3{34
I
Omnia ad majorem Dei gloriam I
Patience , diligence , perseverance
carry one
End
and a steady determination
to the goal.
of the treatise on simple Counterpoint.
THIRD SECTION.
ESSAY ON THE FUGUE.

FIRST CHAPTER.
Of
Imitation.
This branch of scientific composition ought properly to be called the
preparatory school of the Fugue.
The rules
to
be observed are very much

It is indeed
only
less strict than those applied to the real fugue or canon.
necessary
and
to take a
to imitate
it
theme, or subject, in one or perhaps two of the parts,

as may be most convenient. The distance
in another part
of the intervals taken,
by ascent or descent,
as also the regularity of the
progressions and the correct involution of the parts, need not be so carefully considered; it is also permissible to combine with the leading subject
other analogous ideas.
For these reasons Imitation
lable in the florid style of composition,
is
an
on account of
artifice
very avai-
efficient aid in
its
carrying out a subject in a workmanlike manner, and giving an air of unity
whole piece by means of the
to the
made
to
Fugue
and ,
A
tervals
bear
to the other.
if
Imitation
cleverly used
as will be seen
by
which one leading idea
is
a sort of graceful counterfeit of the
makes no bad
partial or periodic Imitation

,
similarity
is
substitute for
it.
may be used upon any
*)
selection ot in-
the following examples.
FIRST, IN UNISON.
1st subject.
free.
need scarcely say (to the musician acquainted with Beethoven's works) that
evidently much fonder of Imitation than of the Fugue, which latter he seems
to have disliked: at all events he never excelled in it, and but seldom attempted it.
*)
B.
was
P.
ESSAY ON THE FUGUE.
141
free.
SECONDLY,. IN THE SECOND.

4 st
2d subject.
free.
subject.
in the Unison.)
3d subject,
free.
THIRDLY, IN THE THIRD.

1st subject,
1st subject,
free.
2d
free.
2d subject,
FOURTHLY,
IN
subject, free.
free.
THE FOURTH.
2d subject.
1st subject.
1st subject.
free.
2d subject.
THIRD SECTION.
142
free.
--
free.
FIFTHLY, IN THE FIFTH.

2d subject.
free.
1st subject.
1st subject.
free.
.
ee<
145
ESSAY ON THE FUGUE.
SEVENTHLY, IN THE SEVENTH.

free.
1st subject.
^=PP
1
1st subject.
-&i~
2d subject.
free.
free.
EIGHTHLY, IN THE OCTAVE.

4
st subject.
3d subject.
2d subject.
free.
free.
(22-J
3d subject.
free.
There are also some other kinds of Imitation

of invention
upon which our ancestors
of real Art)! viz:
version backwards
(artifices,
or rather toys
set great value, as if they
were pieces
the inversion, strict and free, the retrograding, the in,
the
augmented
the diminished
the interrupted
and
THIRD SECTION.
144
upon the
the Imitation
Mentor said
to
me,
these knotty points
accent of the bar (in Arsi et Thesi).

My
if I desired more particular information upon
had better apply to M. Marpurg
I can't say that
false
lately,
,
that
have any great curiosity; I can easily imagine what such intricacies are,
and will make use of them if I find a fitting opportunity. If, in a composi-
tion of
is
mine, the subject allows of inversion, well and good
just as
good without
that- capability
if
not,
it
IMITATIONS A THE, WITH A RUNNING ACCOMPANIMENT

AS FREE OR INDEPENDENT PART.
No.
1.
Andante.
1st subject.
1
free.
ESSAY ON THE FUGUE.
:K=HBs^ji5gi=^
3d
"
subject."'
3d subject?
=t=
1st subject.
S^
E-|
a*- "!
1
^^
~ffff
-mf
^3i=^^B^^Êguf^
S_ ^
UB
!
0SjfJL-JS.
-J]
mf0ê
a~9~
-3-3= ^zujrajEEEEE
^"^
2d subject.
2d subject.
Beethoven
Studies.
10
140
THIRD SECTION.
2d
subject.
3=3=*=sffi*
2d subject.
-i
th-ft-^
B=4=
free.
\}\\
gH^BSijffig
"*^"*"+*^+"*"3:
^3 si
1st subject.
ESSAY ON THE FUGUE.
147
**
No.
2.
Moderate.
1st subject.
'
free,
'f
I"
TT-1-*
-*-+-
1st subject.
free.
ik-tthrtf
**^
free.
i-
2d
subject.
-^
,__
2d subject.
1st subject.
free.
THIRD SECTION.
148
free.
H^S
^^ E
kj^
free.
1st subject.
4thsubj.
3d subject.
1st subject.
<
M n MI
4th subj.
KT"
^=7^=j=j^B^yÊpg3^ ^
f
ESSAY ON THE FUGUE.

fc
pE
^3E^J
*
*"*
-+
o N 5
iÎ
^ =g=zg=
K
_!
S
h-^faE=j===Z^l|
f
--I
*!d-
T*
1st subject.
tr
tr
3d subject.
free.
free.
subject.
free.
1st subject.
H-=--
-- --
4st subject.
-*r
ISO
Driller Abschnill.
2d subject
HSUb^
'
subject.
st
subject.
3d subject.
free.
^
-F^JTSizd:
-^fi^tjcyj-*-
4th subject.
:|=^Ê^rEg=4
free.
free.
4th subject.
suhiwnt.
3d subject.
free.
ESSAY ON THE FUGLE.

tr
sr>
No. 3.
Poco
Allegretto.
MS
2d subj.
1st subject.
st subject.
-_,^-
1st subject.
1st subject.
2d subj.
THIRD SECTION.
=^
--
r-
1=15=
1st subject.
SE
:d~~1~id
i?=iBf=Ej
4st subject.
-r"
^^
2d
subject.
4st subject.
^3^
155
ESSAY ON THE FUGUE.
3d subject.
IV::
nj:
hH hir
-UM J-*-*--l
st subject.
I
1st subject.
4th subject.
1st subject.
st subject.
THIRD SECTION.
m
4
st subject.
i
:it=j
4th subject.
3SEEE?J3
3d subject.
5lh subject.
st subject.
f*
ESSAY ON THE FUGUE.
.*+
f-
E&
i^l
3d subject.
1st subject.
PR
EfEElEÊ
5th subject.
zzzn_; z3z=zi_P
4th subject.
fc
^Êg;feEL^zj^^:^3.uIELgJ
1
:
1
jS_.iJ
1
1_
J
4
^^^
j4
_!? pffr-FFF
|-f4=t 11
=t=L-
P^
THIRD SECTION.
156
IMITATION A QUATTRO
THROUGH ALL THE PARTS ALTERNATELY.
NO. 4.
Quasi Larghetto.
3d subject.
1st subject.
1st subject.
2d
subject.
2d
Eg
subject.
157
ESSAY ON THE FUGUE.

m-f- m *"?-
-O-t-0-f-
4th subject.
ff-j
3d subject.
_
5th subject.
1st subject.
5th subject.
5th subject.
5th subject.
5th subject.
1
j]
*E
p~*
158
THIRD SECTION.
1st subject.
=l=iq
;
=iJ^H-i^T'i-J-^-J-*-"J
^si subject.
^
,
tt-
-f0-
<st subject
^3;
3^=F
1st subject.
7th subject.
8th subj.
ESSAY ON THE FUGUE.
-f
P
I* t ^-L
^*îf
T~I
t
tz-=q=jw==:
=E=EE=Ef
I*
ill
afif-P-P
M-frpp-i FH
i3EESEffii^3
11
7th subject.
ggg
Sthsubj.
1st subject.
^-L-
li
-1st
subject.
7th subject.
7th subject.
4~
si^^ti
9th subject.
1st subject.
subject.
160
THIRD SECTION
9th subject.
!
|
t==p=gF^r=m=^g
ESSAY ON THE FUGUE.
1st subject.
I
SfeE
*^T >
^fe EiE
ft
3d subject.
fE^
1st subject.
3d subject.
ss2?
THIRD SECTION.
162
5th subject.
Hh subject?^
1st subject.
-Istsul
^:
1
st subject.!
st subject.
<
st subject.
3d subject.
1G5
ESSAY ON THE FUGUE.
!EEE=E
1st subject.
subject.
1st subject.
9th subject.
tr
1
1
st subject.
q::
II
1C4
THIRD SECTION.
i^^fcfe
0-0,
9th subject.
subject.
!teE
^=
E3E
1-
rn
un-ûJ^
^j^Wti
tr-
l^gÊi
-(-
n^ ^
Jt^l^-tl*
!EEÊ
165
ESSAY ON THE FUGUE.
SECOND CHAPTER.
Of
The Fugue
(called
Dux
the two-part Fugue.
When
a stricter species of Imitation.
is
the
first
part
or leader) has expressed a musical thought, the second part
(called Comes, or companion) generally imitates or repeats it in the Fifth

above or the Fourth below, and sometimes also in the lower or upper
Octave; the Dux, or leading part, forms meanwhile an harmonic accompa-
niment
(to
if taken up without alteration by the Comes, is

theme or subject, and the composition is then entitled
the Comes) which,
regarded as a second
double Fugue.
accompanying phrase be altered, and not

adhered to but only forms an independent part consisting of interthe piece is termed a simple Fugue.
harmony with the Comes;
If,
strictly
vals in
on the contrary,
this
When
the theme
upon the Dominant
commences upon the Tonica
be reversed in such a manner as

Tonica;
the
the key-note
and ends
companion to it, must

proceed from the 5th to the
to
make
it
e. g.
Theme.
If
(the 5th above) the answer, or
Answer.
the theme begins
same regulation
is to
upon the Dominant and concludes upon the Tonica,

be observed with regard
be conducted from the key-note
to the 5th.
to the
Comes,
i.
e.
it
is to
THIRD SECTION.
166
Answer.
tr
the
If
first
and
Theme.
Dux be
note of the
last
either the Fifth
Theme.
j_
tr
tr
or the
key-note, j|~
a similar
change
made
is
in the
answer
viz
Answer.
Answer.
-*
Fourth below, which, of course,
(in the
is
s>
P*
&
T^-\TT^
I
in .unison with the Fifth above.)
In order not to infringe the old rule bearing
this point, viz:
upon
the Tonica shall pass into the Fifth and the 5th into the Tonica,
it
that
becomes
absolutely necessary to alter one note*) in the answer, that the required
interval
may form
Second
of a
the close.
In this
way
Theme.
or
vice vers&
Two
or a Third
Theme.
*)
is
frequently written instead
Answer.
a Third
identical notes
Theme.
+
a Third
e. g.
may
is
changed
also
into a
Second
be substituted
for the
e. g.
above intervals
e. g.
Answer.
may be made
a Fourth
e. g.
Answer.
This shews the absurdity, or, to say the least, the imperfection of the rule.
P.
167
ESSAY ON THE FUGUE.

and vice versa
e. g.
Theme.
Answer.
Likewise a Fourth
may be changed
into a Fifth;
Theme.
e. g.
Answer.
Or a
Fifth into a Sixth
e. g.
Theme.
Or
Answer.
a Sixth into a Seventh
e. g.
Theme.
And
Answer.
vice versa;
e. g.
Theme.
Answer.
Or
it"?
WO
\~\
A
a Seventh into an Octave
Theme.
and vice versS

Theme.
>*
;
e. g.
Answer.
Answer.
JJ
i68
THIRD SECTION.
The motivo or subject
the Tonica
both
in
this
relation to the
instance,
3Fk*
-fx\9
if
of a
nor the Dominant,
r
r
case the Comes
Fugue may, however, begin neither upon

lying between
but upon another interval
must be so arranged
that
it
stands in just
Dux, and begins upon the 5th above or the 4th below.
Theme
in B{?
major commences with
a Second, as follows:
For
ESSAY ON THE FUGUE.
FUGUE
4>
(2
izt-zE
At the
this is
first
G
BE
T^!
>
-S<s -r'
IN
165)
Bt>.
rr9*-m-
eifibitif:
cadence the tenor-part
is
not good and has a vulgair effect;
brought back to the key-note

it is
called a bag-wig*).
The
is, in the above example, restricted to two bars, and subsequently

one - Bene ! Where the word license stands the Dux begins a tone higher
motive
to
ought, viz: uponÊf? instead of the note D, with which the answer
(seeing that the Comes has already commenced the restrictio) ought properly
than
it
to begin.
*)
This
is
A German
allowable in the middle of a fugue-
wondrous generosity!
phrase, not very intelligible or of any importance to us.
P.
THIRD SECTION.
170
FUGUE
No.
IN C.
NB.
2.
Comes.
(2d pro 3d.
^HE
^t:
-I
(bag -wig.
any port
in a storm.)
IE
Cadence on the Dominant.
-7T7-
First contraction.
-(G_
SEE!
P-n*T
feSfe
ESSAY ON THE FUGUE.

The
last restrictio
falls
upon
171
the half-bar, in Thesi
el Arsi.
The
plagal
cadence requires according to antient custom that the semitonium modi be

not raised by a sharp viz it must be D and not D$ over the bass-note F.
,
FUGUE
IN G.
No. 3.
Dux.
Comes.
=tnz
j=^g
Cadence on the
Dominant.
First contraction.
tz!
ff
L_
Cadence on the
Mediante.
-W-
tt=
Second contraction.
173
THIRD SECTION.
-- &-
-+
Uli^ll^l
As
will
have been seen by the foregoing examples
when
the entrances of the parts
previously commenced with
minant
and vice versa.
the restriction occurs
the Tonica
is
made
to
is
it
e. g.
usual to vary
the part
commence with
which
the
Do-
In minor keys the cadences are generally altered,
them resting upon the lesser Third above the second upon the
in C minor, 1st upon Ef?, 21y upon G.
in A minor,
1st upon C, 2ly upon E. (that is, I say again, if one chooses! for I see no
obligation; and as to the cadences,
the
first
of
for instance,
Fifth;
won't be forced
Unless
to
like to take
make them,
them
THIRD CHAPTER.
Of the
three -part fugue;
The principal ingredients whereof are

1) The theme (Dux, leader, or subject).
:
2)
3)
the
The answer (Comes, the companion).

The repeat, (Repercussio) the peculiar manner
Comes
are
made
to re-enter,
in
which the Dux and
sometimes sooner, sometimes
later.
The harmonic accompaniment, introduced during the repetition of

the subject by another part; if this be carried out, unchanged, throughout
all the parts, it is to be considered as a
counter-subject, and the piece is
4)
then a double fugue.

5)
The intermediate harmony, which serves
tween the re-entrances

on
partly while
The
it is
to
fill
up the periods be-
of the theme, partly while the fugue-motivo
is
going
silent.
less indispensable ingredients
(inasmuch as
it is
rarely possible to
bring them all to bear upon one fugue) are the following:
1) The augmentation, (augmentatio) e. g. when the subject which was
at first written in crotchets is
2)
The diminution
altered in the contrary

into quavers,
etc.
lengthened into minims.
(diminutio) e. g.
way,
viz:
when
the notation of the subject
minims changed
into crotchets,
is
crotchets
173
ESSAY ON THE FUGUE

The curtailment
3)
motivo
when
(abbreviatio) e. g.
is repeated in other keys,
only a portion of the fugue-
higher or lower.
The subdivision (syncope) e. g. when the re-entrance of the theme

occurs half a bar or a whole bar later than at the commencement of the
4)
fugue, and
is
carried on
these devices can be

the principal idea
is
by means of the
made
available
adhered
in
so
to,
ligatura or bind (per ligaturam).
If
such a manner that the character of
much
the greater
is
the merit of the
composer.
5)
on
The inversion
inversio) of
the art of turning
it is
which
downwards
will
be more
fully treated further
musical phrase
or figure
which
originally ascended; or vice versa.

6)
The Organ-point e. g. when the bass is sustained tasto solo and

move on above it, imitating each other. (This is properly
;
the other parts
an
artifice
Here
and a very useful one
belonging to the four-part fugue.)
(in the fuga a tre) the cadences in the middle are omitted, with
where a deceptive close (calast restrictio

denza per I'inganno] is very desirable. Particular attention should be paid to
the contractions themselves
that one which brings on the repetition of the
exception of the one before the
subject at
two
been played
bars' distance is best introduced
when
half of the motivo has
e. g.
etc.
one which draws the theme and answer nearer together (only one bar
intervening) is best introduced at the end e. g.
that
THIRD SECTION.
Phrases such as these allow of being restricted to a single bar, and
and also per
in Arsi et Thesi
moreover may be carried an octave higher

Syncopen;
e. g.
175
ESSAY ON THE FUGUE.
FUGUE
No.
IN
D MINOR.
1.
^F=
Companion.
Leader.
^S
2S
*-!
Harmon accomp.
:
Inter
Leader.
:
11
all
harmony
the parts.
in
176
THIRD SECTION.
-
me
-""
T*-
tttq
_ffi_
rffn~H3^J^^
tt
1
At ATB. there occurs a repetition with the substitution of a minim for a
semibreve
this is not
pause)
is
2.
h^Cp
IN
to
any case,
thereby rendered more striking.
FUGUE
NO.
much
only permissible but
the entrance of the motive (which ought, in
fib.
be admired
to
because
be preceded by a
i77
ESSAY ON THE FUGUE.

NB.
It is
customary
may stand out

do so*). (Why not?
that
it
before a re-entrance of the subject,
to place a rest
bolder
relief;
in this instance
Art and ingenuity can surmount
it
was impossible
to
all difficulties.)
-j-E-g-y-JT-g-pg
j-
TL^
in
'
H
Repetition.
-traction.
Repetition.
zt
n=^^=
Har: accomp.
-tition.
Inter
har
9 -fo
:
accom.
ftr*
Har
in all the parts.
EE^rÊPjEEg
Last contraction.
*)
It is
to
be distinctly understood that
Repetition.
all
these examples were furnished
Albrechtsberger, and were not composed by Beethoven.

Beethoven, Studies.
P.
12
by
178
THIRD SECTION.
/^
fg
Inter
bar:
in all the parts.
FUGUE
IN G.
No. 3.
Comes.
tr
5Sfei^
-f-3-iF 9^^^"Ear
Dux.
Har
accom.
S*-1
Repetition.
1
Dux.
Remark:
Contraction.
the repetitions follow, in this case,
so closely
upon one
another as to leave no room for intermediate harmony.
Har
Inter
ace.
bar
tr
throughout.
Repetition.
_^
fa'-r^r*
*E&=
^Tm-|3g==|B
Repetilion.
179
ESSAY ON THE FUGUE.
T~
1"^
'
^y
Last contraction.
I
Repet.
Repetition.
.,
"
m *-f*
+- -
>t==g^^^
Repetition.
FUGA A DUE
VIOLINI
,E
VIOLONCELLO.
No. 4.
Allegro.
1
I
^jj
L&
180
THIRD SECTION.
-ft
zip
=a^=JN=^p~S^
ESSAY ON THE FUGUE.
f^-m-r^
JSP
ITT
181
f
h
JE^^-^^lfE3^=^^^t==j^
THIRD SECTION.
182
-$&*p[&f-tf-fpE#srrrÊS&^S^Sig^^
fr
-,--
-^=
'
1
UT
'
'^
4-j
ESSAY ON THE FUGUE.
=qi= = i=iizq:^zi
4-f
+J îP^'-'f
-
3)
184
THIRD SECTION.
P-
f--*-jj
^==!stEEi
fi
=^^:
185
ESSAY ON THE FUGUE.

fr
FOURTH CHAPTER.
Of
the four-part Fugue.
Here the several responsive parts may enter in the following order
Soprano,
Bass,
Tenor,
Alto,
Tenor,
Bass,
Soprano,
Tenor,
Alto,
Soprano,
Bass,
Bass,
Soprano,
Alto,
Tenor,
Alto,
between Leader and Companion, and likewise between

Tonic and Dominant, remains as aforesaid; and vice versa, viz:
meanwhile the
Dux.
relation
Dux.
Comes.
Dom.
Comes.
Dom.
Ton.
Ton.
In working out the fugue the following regulations are generally observed:
\)
When
the piece
the motivo has been taken
spun out by
is
monic periods, and

key-note or
2)
care
means
cadence
all
is
then
made
the parts, the
web
of
and accompanying har-
pleasure) either upon the
(at
its Fifth.
Without pausing at this close, the Dux or Comes may then re-enter,
taken to choose a part in which the subject has not lately
being
appeared: the other parts follow

e. in
i.
up by
of the intermediate
keys which bear
in
whatever order the composer likes,

and without forcing the
affinity to that of the piece,
parts out of their natural sphere.
To
annexed
a concluding passage
ending in a ristretto i. e.
the subject is repeated in various tonal regions, one entrance being more
quickly succeeded by another than at the beginning. The half-cadence which
3)
occurs here
this is
may
also
be lengthened by a fermata.
If
the original
theme be
capable of augmentation, inversion, diminution, curtailment and dissection

so
much
the better
When
the subject has
been conducted
in this artistic
186
THIRD SECTION.
manner through various
keys,
first
kindred, then extraneous
it
time to
is
introduce
the final contraction, and
4)
that
may be
it
fairly said
,, finis
this, if possible,
over a stately organ-point,
The usefulness
coronat opus!"
of a rest
before a repetition has been already explained.
The
result of
all
this
is
the following skeleton of a fugue
a.
Dux.
b.
Comes; together with their accompanying harmonies, e.

Intermediate harmony, f. Comes, g. Dux. h. Comes, i. Dux. Contraction,
Comes,
c.
k. Inter:
Inter
Dux,
d.
harmony and
harmony,
Imitations.
1.
Dux. m. Comes,
q. Final contraction or concentation.
n.
r.
Dux.
o.
Comes,
Organ-point,
s.
p.
Ex-
tended cadence.
A happy
of fugues
preceptor
selection of
themes tends greatly
to the successful
composition
the following motivi have been sanctioned and approved
by
my
FUGARUM THEMATA AD SEMIRESTRICTIONEM ET RESTRICTIONEM APTA

No.
1.
No. 3.
No.
2.
No.
4.
etc.
No. 7.
No.
8.
No.
9.
&L_i_^5=zqzz
No. <0.
No.
H.
Authentic,
feriii^zzzri
ESSAY ON THE FUGUE.
187
tr
or plagal.
No. 12.
No. 14.
No.
-13.
Answer.
or plagal.
Authentic,
No. 16.
No. 15.
-ES
No. 18.
No. 17.
No. (9.
No. 20.
j
No.
No. 22.
No. 23.
No. 24.
No. 25.
No.
nu. 26.
/su.
No.
r<j. 27.
if.
*0.
No. 28.
IÎU.
.,
,_
IÎU.
*.
.-.a..
No. 30.
^p> _
""^
8
i
THIRD SECTION.
188
FUGUE
No.
IN
A -MINOR.
1.
tr
_-J
TL-.-r-
L
I
ESSAY ON THE FUGUE.
189
<a:
ttal*-f-i?-riig-
f-tfgf
F^Pwij
Tp^"-1-^q~-i
r it:
?-\
it
II
1*
f3
190
THIRD SECTION.
hj_
\-
ESSAY ON THE FUGUE.

2
-f
&-
lL_fS_
=F
r
E3ESH
:z=:
^*^
I
^^
THIRD SECTION.
RS
fs
'
3E
ss;
3fi
re
iî
s
-*c-
zzq -Z^zq
^_q~
zi^rq
==SE^gî^^z&izi
=
T^ H-r-H-R ^^'-=?1
^=fcrfzz=|
^F
-I
-i
ffl
ffi
<S>
-.
^
II
ft^
^ ^
r=^tor^^-f-T
Effe3^^
:q::
Si
105
ESSAY ON THE FUGUE.
fe^
**
m^
m
i
g
~\
r^
pj=i=b
<*
\"f
==^^K=z=ij--JlI
1
fe, g fg
=piBEE^t
-5^
T^\^~(^
-H-Hfii=
-i-1
=j
^^
ffl
HEBEgr
^==1
^g
Beethoveo, Studies.
THIRD SECTION.
*-Tcf=--
ijg_
i_2â
p^-^ÊfeE
ttE
^1
tl
2-
f-
195
ESSAY ON THE FUGUE.

=3:
:=:
IfefJEJE
EEEE^
196
IMU
THIRD SECTION.
197
ESSAY ON THE FUGUE
ESfeE
3E
*=p
TT-f
|T
^^rvjÊ^^Ê^^^^ê^
fe
n*-
&
^^rrfl^^
zt=
*--
ii
H^
198
THIRD SECTION.
~-sP*~^-*-|
>s
I-
==1^=^^=^=^^
g^g =F
~
it.
_-. __
199
ESSAY ON THE FUGUE.
tfr
t-
IT-
:=
|y
_4^\
|.
200
THIRD SECTION.
tr
itr
4=
fe=^
m
P-^
tr
izkiîta:
y*
t
S
EE
$-f
-TSt"
^
~
r\*
S==Ff
ft*
-fff^fe^
ESSAY ON THE FUGUE.
g=jr%fe^L
tTTihJ
-*-*
frirEfragpgEjjg
-*-
-?-:
-*-
ISE
202
THIRD SECTION.
4-^;
3J&
tr~~
_.
T|
m-P r
^jg^jjl-g^
ESSAY ON THE FUGUE.
=3=
1^=4=1^==^=:
Hi
*===3
0-P-0-*
fe.
P"*
k]_ri f-f l-p-^-^^zigqîpi^

'
'
']ib-*
7^ZLJtF-FH:
THIRD SECTION.
ESSAY ON THE FUGUE.
fr
ffiK
sos
UOG
THIRD SECTION.
i
i^
^^^=:
r,
"I
=3=
207
ESSAY ON THE FUGUE.
--a^^tr--
--P-*-,^
-^->
--^
EEEE
==
5fc
5=3g^
2on
THIRD SECTION.
tr
zdbEit:
9-r&-
1*
for
'
ESSAY ON THE FUGUE.

No.
FUGA A QUATRO
5.
VOCI.
Moderate.
re
0-
Do
- na no -bis
'-*
|
no -bis
pa
-al-FH
-n&i
pa
pa
cem
Do-na
no -bis
cem
no
no
Eg
f **~i~^^wr'
Erfl
no-
cem,
|
-l-^s
Dona nobis
bis
pa
cem,
pa
bis
pa
n
-jf_:
bis
pa
cem
dona
cem
cem, pa
do - na no -bis
cem,
nobis
Beethoven
Studies.
pa
cem
pa
pa
cem,
210
THIRD SECTION.
no -bis
do-na
cem,
pa
pa
fe=
0-
do - na nobis
pa -cem, pa
^=sto=^^33
i^gE^g^
no - bis
cem,
pa
cem,
pa
t-
-f
do
cem,
na
>
-*
TH*-
tsi==t
=te==
-
na
cem, pa-
cem, pa
do
do
cem,
na no-bis pa
cem,
Ft=
no -
bis
pa
cem,
do
na no
- bis
pa
cem, do
cem,
- na
no
bis
S
do
na
no
bis
ESSAY ON THE FUGUE.
=EEf
EEE
lili
212
THIRD SECTION.
--&3
4=
cem,
Ej%ggg^
life
pa
pa
cem,
cem, pa
pa
a*= :fi=ig^^^^=
T
do
na
ft
- bis
no
pa
=*t Xw^fe=^
^-g-ajjTi
cem, pa
cejn,
cem,
pa
CS5
'^q
cem,
pa-
^Bjy-f g_g-i:
^^g*
^
q-^+fea-^F^^-L^
cem, pa
pa
no
cem,
bis
cem,
pa-cem, pa-
P
no
bis
cem
pa
pa
do-na no - bis
cem,
do - na nobis
-0-
cem, do
na no
do-na nobis
- bis
pa
pa
cem, pa - cem,
cem, pa - cem,
pa
cem,
pa
ESSAY ON THE FUGUE
t=^=Cgg^^B^-g==gg^g^^
cem
pa
cem
pa
cem
no
bis
pa
cem,
do-na
cem,
cem, pa
PE
Lt
do-na nobis
cem,
pa
do
no
bis
pa
pa
na no - bis
cem, pa
cem, pa
cem
pa
cem
pa
pa
cem, pa
cerr
cem
cem
do-na
pa
pa
cem, pa
cem, pa
_2
bis
BEfe
IP
Org. pedale.
214
THIRD SECTION.
-f
'
F-f-F
ea
215
ESSAY ON THE FUGUE.

No.
1.
^p^^^^ffiSfffFp
/*--
~T~
frÊgE
'
EltPf
EE
fe
'
(
^^
'
*-l
Chorale.
&
216
THIRD SECTION.
-fir-
free.
.11
4*
f-
*T^
?*
9*
"
i_j
IP
=t=
g^
<&-
grg
217
ESSAY ON THE FUGUE.
-|
Chorale.
E==F
ZZ^?
ZZtt
1
free.
_zj
ji
_d
'
tr
!____1
I
(*?
:=ziit=::
Chorale.
ft
-ff--
T:
218
THIRD SECTION.
Chorale.
*=
free
i^fe
rlE?
s
fer-^
=(==:
free.
ESSAY ON THE FUGUE
#JSl*-r&
(22-
-Jfe
T-S-
^-4îre^z^Ê&-^~H
^H
Htz
^^
= =:
i
-=T:
TJ
gL -r-( g -!g
>
Hfcg
4U,
fs
=^^=^1:
tfi
llÊ
TJ
Sl^
Êr=f=E Ê^^SEg^
:l=
-^
tS
EÊ^
:fe
&
g
220
THIRD SECTION.
=P
Chorale.
free.
^- l_j-j^4=t
^ j
j'
^ TI^
ESSAY ON THE FUGUE.
EZ^^:=-=:&:]_,*-P-P-=
H 1_^ |IZ_ _i &C-:
(22-S--
ifc
Chorale.
ff=^~
i^^
q-^cz^=q^
^Fft
25!
222
II
THIRD SECTION.
223
ESSAY ON THE FUGUE.
i3
Chorale.
=*
ft
-Eaa=r
zfcVgzpa!:
t
fe
SEfe?
<M-
^ZZ
Chorale.
THIRD SECTION.
=3=^
SEtV
Chorale.
m &
--4=-
1-2:
$^
^"J
ipn>
Chorale.
Z22I
^1
ESSAY ON THE FUGUE.
fct
Chorale.
225
THIRD SECTION.
Chorale.
tr
-p.-g,
-,
^3ES
^lh-i
(22.
^=P^
G>~
(m
fc
-&-
3EjjE
227
ESSAY ON THE FUGUE.
SIXTH CHAPTER.
Of double counterpoint
in the Octave.
The denomination double counterpoint is used when each part appears

shape, viz once as the upper and once as the lower part.
in a two-fold
Of
in the
this there are three different sorts
Twelfth;
and Sixth
It
to
which those
bear an intrinsic
(less
common)
when
varieties
in the Third, Fifth,
affinity.
be found useful, and indeed
will
Concords and Discords
and
in the Octave, in the Tenth,
the very
first
indispensable, to avoid
sketch of the composition
each part may allow of being transposed out of

position into another interval. *)
in ordre that
its
certain
is
made,
peculiar
Care should also be taken to preserve a variety of movement between

may be more easily distinguished from each other.
the subjects, that they
This can be effected
and shorter duration

clearly developed,
by using notes of different value; e.

by this means the characteristic
g.
notes of longer
difference will
be
and each part distinguished even when they exchange
places in the score.
The
limits assigned to
each particular species must, as usual, not be
overstepped.
When
composing double counterpoint
in the Octave,
the piece being written eight, intervals higher

position of the parts ought to
quence
other
of this
the
engender a
intervals
new
in
,
phase of harmony.
8765
thus the Unison becomes an Octave
567
4
case of
the transIn conse-
stand in the following proportion
or
in the Fifteenth
to
each
8
\
the Second a Seventh, the Third a
Sixth, and so on.
That part which is raised higher is called octava acuta; that which
lowered eight tones is called octava gravis; e. g.
is
Octava acuta.
That
is
to
attendant upon
all
*}
say
it is
principally a matter of calculation
contrapuntal writing,
more or
which
is
an
evil
P.
less.
15*
228
THIRD SECTION.
Octavo
123*567
or:
gravis.
The
result of
which
is
That both inversions produce similar intervals.

That, as the nature of the case involves, the diminished intervals
1)
2)
made extreme,
the minor become major, and thus vice versa.

the
That
composer must be very careful not to let the parts rise or
3)
fall too far
(and must have an eye to this in sketching the piece) because,
not only would there be no alteration of the leaif this were not regarded
are
but a cardinal rule would be infringed, which forbids the

extension of the counterpoint beyond the compass of an octave
although
ding theme,
one does occasionally take a
flight into higher regions for the sake of obtai-
ning variety.
The Octave
4)
is
never
would be produced by
of which is thin and bad.
,
that
to
be taken
means when
,
at a
skip, because
the parts are inverted
the Unison
;
the effect
Sequences of Fourths are not permissible because they would be

changed into Fifths afterwards. The extreme 4th, which becomes the false
Fifth
may be tolerated.
5)
It is
6)
it
at a skip.
commence or conclude with the

may be used in the regular transitus,
or to take
forbidden to
Fifth,
But
especially before
it
at any time.
The Ninth, resolving itself into the Octave, must be avoided,
because at the inversion it would be turned into a Second and First. The
the Sixth
7)
best
remedy
for this defect is the skip of a Third in the bass
e. g.
229
ESSAY ON THE FUGUE.

The Seventh, however, viz: the 7th which
cond by means of the inversion may be used
is
when another
bare octave
interval
taken
is
resolve
to
it;
produced from the Se-
freely
more
particularly
for the sake of avoiding the
e. g.
(^
-fi
i*
&
(ff
5*5
HE
163*
Inversio.
The compass of an Octave
new harmony
is
not to be exceeded
because
in
double
be originated by the inversion if

the same harmony will be repeated
even although the
this limit be passed
composite intervals be reduced to simple ones, and these are not so much
counterpoint
ought
to
intrinsically as locally different
thus, for instance
the Tenth of a composite
changed by the process of inversion into a simple Third the Ninth

becomes a Second, and so on; in short there is no real difference between
composite and simple Concords except that of the distance between them
Third
is
it
?5
=r
r~~
THIRD SECTION.
lioO
the extent of an octave, viz: the one raised and the
oilier
lowered eight
tones of the scale.

8)
The pure
move
Fifth
is
not
gradually onwards
to
be taken either
at
a skip
nor when both
nor as the passing note of Fuchs or as inparts

verted passing note, prepared by the chord of the Third, Sixth, or Ocbecause it would be metamorphosed by the evolution of the parts
tave
,
into an
The transposition of a lower part into the

unprepared Fourth.
is termed inversio, vel evolutio in octavam acutam: a similar
octave above
transposition of an upper part into the octave
below
is
termed inversio
evolutio in octavam gravem.
COUNTERPOINT WITH A CHORAL THEME.
vel
transposing
it
ESSAY ON THE FUGUE.
251
two octaves, higher or lower, the
real Fifteenth is obtained,
in point of position.
COUNTERPOINT WITHOUT A CHORAL THEME.

1
?zrq
THIRD SECTION.
2.V2
Quintadecima
I
gravis
of the Violin,
upper
the \
part.)
Octavo acuta
of the Alto
5670
__JA
Octava gravis
of the
tfTff ffc
"IB
upper part.
Although one
may change
etc.
this
kind of counterpoint in the octave into a
Pricinium or Quadricinium, by adding more parts, (making it three or fourpart writing) this may be effected in yet another way by observing the follo-
wing regulations
\
By using none but
By using,
2)
Concords but Thirds
motu
If
Sixths and Octaves.
By never writing two Thirds of
3)
in
the contrary (or oblique) motion.

every Thesis or accented part of the bar, no other
at
Sixths in direct succession
these rules have been strictly adhered to,
write a Third above to one or both of the two parts

the last
and the piece becomes
a three
instead of C major
may
the Thirds also
876
678
note
first
or four-part composition, which
may be changed
mode
e. g.
into Sixths
<&-
-^
-^g.
'
E^^^^^^HE^^
.14571, 34565
>
'
either
only necessary to
from the
not cross each other too much.
is
it
writing Thirds below will appear in the relative minor
parts
recto or contrario.
to
by
minor,
that the
ESSAY ON THE FUGUE.

Octavo, acuta
of the Alto:
til
323
113
eic.
SIS
eic.
Octavo, gravis
of the Soprano:
IN
THREE PARTS.
or
mi
or
10
or
or
IN
FOUR PARTS.
g:
^
g;
Ep ^"
-=5=.
E^fegE^g
=Ep
254
THIRD SECTION.
~-&
or
or
<
=i
'm
ES3
^z^ci=g
or
or
<
33
:Et
or
<
g^= qÎn the following
Fugue
is
shewn hoV
the
Answer
is
brought in by the
aid of double counterpoint in the^ octave.
= j=
=z_l
'.
255
ESSAY ON THE FUGUE.
1^.
-:
-.-..-
I2Z:
~0
a-0-
^
3.
(g-
NB.
256
THIRD SECTION.
*
g-
^2_
-<s>-
m
IFFF
-ZZL
I3?I
E
f=^
t]
ESSAY ON THE FUGUE.
||
238
THIRD SECTION.
The
4)
Fifth in
comes a Sixth by
motu
recto
is
allowed in the free style
because
it
be-
inversion.
Sixths that change into pure Fifths are allowed in motu recto.
Seventh may be used a due both as a bind and in the regular
The
6)
but
transitus
only as the Decima in a tre. The passing note of Fuchs may
5)
also
in a due.
be used
The compass of a Tenth may not be exceeded,

may be formed properly.
7)
in order that the
inversions
Although the piece be concluded on the
8)
part
Seeing that the inversion
9)
Third
at
tonic, as is usual
must commence the subject on the Third or the
as proxy for the Tenth ,
is
it is
made
to lead
customary
the upper
Fifth.
(with voices) only
to transpose the
to the
upper part
once into the lower Octave.
This species is called Contrapunctum duplex in Decimd acutd, when

one or two parts of a composition in several parts proceed entirely in Thirds
above or in Tenths it is called Contrapunctum duplex in Decimd gravi, when
:
Sometimes a
same thing takes place with Thirds below or Tenths.
Third above or a Decima is produced simultaneously with a Third below or
the
Decima,
in a four-part composition (a quattro.)
The afore-mentioned
four parts
e.
i.
nothing but
rules are valid for writing a piece in three or
3, 6, 8.'
may be
Thirds or Tenths
principal theme, sometimes to
other part
and no bind of a Discord,

may be written, sometimes to the
the Answer, to both in four parts; and the
the contrary or oblique motion
transposed into the double counterpoint of the Octave.
COUNTERPOINT WITH A CHORAL THEME.
j(
(r
ESSAY ON THE FUGUE.
259
INVERSIS:
THE CHORAL THEME AS UPPER PART.
The counterpoint
the key of
II
k<
is
in the
exchanged
Decima gravis : (Tenth below) by which means
for that of B}?.
240
THIRD SECTION'.
'|pE==
or
&
ESSAY ON THE FUGUE.

IN
241
THREE PARTS.
In actually working out the fugue
it
is
not necessary to introduce the
commencement, or to keep it up to the end; the composer may, on the contrary, choose two subjects adapted to inversion, and
combine them at his pleasure, and in any part of the fugue.
inversion at the very
When
cima gravis
the piece begins on the key-note the transposition into the De(the
above, which
is
deep 10th)
will
also allowable
conduct
when
it
to a Third below, i. e. to the Sixth

forms modulation into a relative key.
COUNTERPOINT WITH IMITATIONS.
Iflffe.
-l^jrp
^4ig:
4qf_,_ji p_
242
EEEEE
THIRD SECTION.
245
ESSAY ON THE FUGUE.

-*-
or
|J=aFê"-=^
t:
IP
Tertia acuta of the Alto.
ig
<
=t-f
t-
Octava gravis of the Soprano.
q^^
=|iir
:t
ÊEEEtE^-i
Decima gravis of the upper
part.
When
the counterpoint
is to
be made use of
in all three or four parts
one or other of them
alternately
may be suffered to pause by turns , or to
fill
with
melodic
the
up
phrases, or to move in contrary motion
empty space
to the subject, or to be introduced in some other permissible way, e. g.
,
F^j-r
f-pi^p^-y-^-g
f&
=f^~-^-Fg=4^=rE^
r^
:^-Z=p^=t=^p-
It is
now
to
*J-4i"3
,*--*- -<g
be shewn
how
g3E *
this
3s^
counterpoint
may be used
in the
position.
Theme.
Answer.
^=T=^='-^
T
r."__z
T=^: __ TI zi=
-[-
~F
com-
244
THIRD SECTION.
"*
Although
it
appears as
point in the octave
membered
that, as aforesaid,
it
it is
the counterpoint of the Tenth.

ject
given as transposed
is
answer belonged to the class of countermay be inverted in the octave) let it be re-
this
if
(because
capable of being intimately connected with
example this counter-subDecima acuta, and afterwards the
In the following
first
into the
notes that previously formed the bass are raised an octave higher, in the alto
region with a new fundamental part in the Tenth below.
,
ire
Decima acuta.
Oclava acuta
of the foregoing bass.
=^
-4^Zf_-I=î& =
FUGUE
IN
COUNTERPOINT OF THE TENTH.
SEE
SIEEÊE ==ÊE
j~
_ g-fap-jzdd
-r.
BE
No.
No.
2.
No.
3.
4.
243
ESSAY ON THE FUGUE.
zq^gg^qgi
^^39
EtH^fc:
-
>-
No.
5.
gEÊg|5=^
Pt^-sr.
&
^=-^> - =
g-Tl=3=:
4= ^==q
T"g
1
f
^
No.
6.
i
.n
p?
&_
s:
3E=33E=
f_ll
^^
This fugue
terpoint of the
*)
is
short,
and was written*) merely
to
exemplify the coun-
10th, and not as a specimen of an elaborate
Beethoven's expression
for the article in question.
is
here
(literally)
work
of art.
manufactured I not a bad phrase

P.
THIRD SECTION.
Although the examples No.
\, 2, 3,
do not seem
to
be
the nature of counterpoint in the Tenth, because the

in Thirds
accordance with
in
Answers move only
and Sixths instead of Tenths, yet they are founded upon the rules
if
this species
they be written as follows, it will be seen
bearing on
that they are in strict obedience to the same.
But inasmuch as the compass of the Tenor

(at
No.
2.)
would be exceeded
if
at
No.
and of the Alto
it
became neces-
were used,
real Tenths
sary to use Thirds.
At No.
made
for the
where
Sixths are written
the
deviation from the rule
sake of combining the parts more closely;
as in a similar instance at No. 6
stand thus
<=
Jjj
jS>
it
is
should properly,
247
ESSAY ON THE FUGUE.

,.>rU
fibM'
,.5-lj^
',
.**''
EIGHTH CHAPTER.
Of double counterpoint
The inversions must be formed
or,
when
in the Twelfth.
as follows
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
H.
12.
12.
11.
10.
9.
8.
7.
6.
5.
4.
3.
2.
1.
Fifths only are used, instead of Twelfths, to
keep within compass
of the voices:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
5.
4.
3.
2.
1.
2.
3.
4.
5.
6.
7.
8.
The rules attaching

1
When
Twelfth
the Fifth
to these
changes are as follow

for sufficient reasons
:
substituted
is
the other part must be transposed by an octave
engenders a quite different set of intervals
above numerical
2)
for the real
as will easily be seen
latter
by the
table.
Sixths are always to be used in gradual succession, because they
become Sevenths
they
because the
and are never
to
be sustained
In the lower part
in arsi.
may be bound.
3)
The
is not to be prepared by the Sixth, but

Moreover, the motus rectus, as well as every kind
be made use of in the two-part fugue. The Eleventh and
ligatura of the Seventh
with another Concord.

of ligatura,
Fourth
may
The bind of the Second

4)
5)
the
If
as purely identical.
adapted for the cadence.

it
will
be necessary
to
make
the
(in writing a due) begin and end with the Fifth or Twelfth, espe-
cially at the inversion

,
is
In order to retain the original key
upper part
above
met with here
the Second and Ninth are often
first
and
into the
last
note
the composition
Duodecimo
may
is to
either
gravis.
To obtain the inversion
be a Unison or an Octave.
be in three parts, the third free part must
Twelfth above under the
first note (which will

be the Dominant of the upper part)
fall upon the Tonic, because the
counterpoint requires a rest. The last note of the upper part, which in like
at the transposition into the
manner
to
closes with the Dominant, should also be lengthened
allow the other two parts

6)
When
pure Twelfths
by
few bars,
form a free cadence upon the Tonic.

and to proceed in
a piece a due is to be made a quattro
the
the sketch of
two-part composition must be made so
to
as to introduce, alternately, nothing but Thirds, Fifths,
and Octaves, also
the motus contrarius throughout, and no bind of a Discord.
THIRD SECTION.
7)
When
the natural Fifth
below, the pure octave
may
is
written instead of the Twelfth above or
not be struck upon the accented portion of the
when
bar, because that involves the entrance of an unprepared Fourth
be remedied
can
This defect
inversion occurs.
in
two
use the double counterpoint in the Octave
Either one
different
when
the
ways
the
,
may
upper
be placed underneath, or a real counterpoint of the Twelfth.
The ligatura of the Fourth the Second , and the Ninth may moreover be
part
is
to
made
available in two-part writing.
PRACTICAL APPLICATION OF THE
HE
^2-
LAWS
LAID
10
12
11
10
10
EVOLUTIO IN DUODECIMAM GRAVEN.
trnf~
^=r^^T~r~^nV^^r^
h
-^F^-ji=^^=^^^^=Fr68
tee
DOWN.
:z
10
249
ESSAY ON THE FUGUE.
Duodecimn acuta
of the Alto.
1234
Octava
localis;
permanent
(ffl.
or
1012
part.
Quintet acuta
of the Alto.
1234
1012
Octava gravis
of the Soprano.
356
10
9876
34S
23
COUNTERPOINT WITH A PLAIN CHANT.
=
5
I-3--
51210
34S
8765
89
10
12
11
45
INYERSIO
1098
Duodecimo, gravis.
543
10
1234
67
10
987
THIRD SECTION.
[I
23
58
Duodecimo,, vel Quinta

acuta of the Alto.
8
108
1Z34
S43
Octava gravis of the
Soprano.
Tre: Duodecimo, acuta, free part, Octavo, gravis.
S-
"
~T~~
m
I
due:
-& &3=:.
876
etc.
ESSAY ON THE FUGUE.
Duodecimo, vel
Quinta gravis
of both parts.
First
tre:
upper part, or Quinta acuta of the inversion.
<
Decima,
First
pop
or:
vel Tertia gravis.
lower part, or ()wwte acwta of the inversion.
2o2
THIRD SECTION.
Aquattro, withTenths or Thirds to both parts.
&Dec. gravis.
Dec. acuta.
K
_&--
or:
P^^rj:
E^
,
a due:
&
_^zz?
C4=?-=3
-<5>-
&
'
=z=t
Cum
(SF^=f
H
imitatione.
1~
^g^g
253
ESSAY ON THE FUGUE.

INVERSIO
Duodecimo grams with
1087
('
permanent
part.
1087
i
==T=?=P=$=B^
_3
:r-r- F-T
~s>
-&-
db=
Decima acuta.
a quattro
-#=?=--
~'4=5
Decima gravis.
.^
act
FZ
License.
->-
fe'EfEE
THIRD SECTION.
NINTH CHAPTER.
Collection of examples in all three kinds of double counterpoint.
No.
1.
Counterpoint.
fo
87313
-I
Chorale.
Chorale, 8va acuta.
7676
I2686S
363
346 S6S
Counterp. Sva gravis.

Counterpoint.
Chorale.
Chorale, 8va acwfa.
7376
10
106546789 69363
Counterp. Sva gravis.
ESSAY ON THE FUGUE.
26
32
63
No.
2.
Menuetto.
Ft'oWwo.
C.
f.
C. p.
C. p. Octavo acuta.
C.
C.
f.
c. p.
f.
Octavo gravis.
345
65
256
pC
THIRD SECTION.
p. Octavo, acuta.
itd
C.
f.
Octava gravis.
No.
3.
A.
EEEFÊEgsg=J=H-
B.
Duodecimo, gravis.
tt=i=
as
t=f=m
ESSAY ON THE FUGUE.

C.
Quinta acuta.
D.
tre:
m
'
Decima gravis
of the
upper
part.
-*--
pi
0.
E.
Jertta gravis of the
upper
part.
H
Beethoven, Studies.
257
238
THIRD SECTION.
-T*
f~
-?
fe&fe
C=h
^^C
|-
JZZ
EE
^^
F.
Decima acuta of the lower
part.
Octava gravis of the foregoing upper part.
Octava
localis of the foregoing
lower part.
^^
G.
Quvnla gravis of the upper part
let.
E.
Ff=!^=^
Tertia acuta of the
fundam
part.
Quinla gravis of the lower part
let.
E.
:B :
I
s^
ESSAY ON THE FUGUE.
?r-f
2$<J
^^t^=i=^te=tt=^^=
^===JEi
fvT-F- F- ^
"
t*-
iHl
pr=ES^=4=tit:
d quattro
H.
^
^^
j-itfe==^==^==EE|z^=====^ÊEfi-trr^_-^
i-^
f-r
"T'^^r^r^F*1
Original upper part.
Decima acuta
Decima gravis
of the bass.
of the Soprano.
Octava gravis of the original fund
-*
*-
-r
KT=t
i
part.
=tn
-^^
-(5
n*
200
tr-^-=-:
THIRD SECTION.
ESSAY ON THE FUGUE
mn^n
iH
E=E=HEffiEE
Decima acuta.
Dux.
:rl^=Comes.
PHI
Comes.
Dux.
Cowes.
Dec. gravis.
Octava gravis.
EEzEEESiE:
1
Dux.
F?^
iitg^tzt
Decima acuta.
=l'7Ttin'
Comes.
-^-0f
,m
202
THIRD SECTION.
Comes.
Decima
Egggg
acuta.
f=T3
Tertia-
Dux.,
Tertia acuta.
Comes.
3
Duodec. gravis.
/Lb
'
205
ESSAY ON THE FUGUE
J2_
l-2-
Comcs.
Sexta gravis.
Dux.
Bj
Decima acuta.
=i
52-
=tf=Jt
H=t
Dux.
Tertia acuta.
-(2
nzzg^gzBqÊ
^-î
i^
Comes.
'
Comes.
^^^P^fj^^^pg^j
Decima acuta.
Comes.
264
r
3S=j=g
THIRD SECTION.
io^
ESSAY ON THE FUGUE.
==t=
^ff2
?J^
.Dwa;.
-x=*.
Sexta gravis.
^_,._rerJta acwto.
g^^NfrEf&H^ffra
Comes.
E^5=^
î
:^t
-(5--
r==î=^
rz^=
266
THIRD SECTION.
FUGA
ALL' ISTESSA MANIERA.
(Another Ex:
of the same.)
No. 5.
Chorale.
Counterpoint.
Chorale.
Counterpoint.
,,
-.__feg~
|ggj===-
\~P~*~
h^'-'l
&
'f
4J5^f=h^
t-
tiq
Chorale.
-&-~
=1
ra:
Counterpoint.
Deciina acuta.
Counterpoint.
aE
Chorale.
ESSAY ON THE FUGUE.
jtr
jE
267
268
THIRD SECTION.
-I
(3
Jex-
-i
U-l
m
:t
_*
269
ESSAY ON THE FUGUE.
Decima acuta.
^3
=p:
'it
e g;
Decima acuta.
Duodec. acuta.
&3:
^s:
Decima
Octava gravis.
gravis.
=î=q
Decima
gravis.
I
m^^rEg
FUGA PER DUE

No.
VIOLINI,
6.
Dux.
a=
Comes.
ALTO E BASSO.
THIRD SECTION.
270
tr
^5
3%
:=3=4::
=3
^3=
Comes.
)#.
PP
iii
=P=:
*=
P^
Dux.
5E
Come*.
tr
*fe
Dua;.
<^$
*=
=^=\
^^^
ESSAY ON THE FUGUE.
Decima
gravis.
~f
T^=
t
Decima acuta.
fcC
Decima
gravis.
272
THIRD SECTION.
fte*
atfct
*=
Tertia aravis.
q=?e= :i=p=a==zzz
3
Fl7_ÊE
^f =^zJz-HF =^
fa
4=;
=J
P^-r ^
f-r^r^-
E^^^^^=
^^
:=iî
ESSAY ON THE FUGUE.
yK T
275
274
THIRD SECTION.
1
Leader.
-*=--
&*
-f^f-f-r
fc
==
F^=F^
EE^
MB
g-^
a;
-*gravis.
R^
e*
f"Tertia acuta.
Decima acuta.
EE
278
ESSAY ON THE FUGUE.
m
+-+
*-
rs
5^:^
g=jj_iug^
fr
^g^^
Dux.
18*
THIRD SECTION.
*y
*"
==
tr
-s>-
E^
*^-sr-f-
Duodecimo acula.
1
j=HJ^-;H^:gg:
277
ESSAY ON THE FUGUE.
TENTH CHAPTER.
Of the
A
inversion.
composition in which no bound discords occur
two ways
first
by the exact contrary
In the former case
all
may be
inverted in
secondly by the inverted contrary.

the notes that ascend are made to descend, without
,
regard to tones or semitones.
This and the opposite method of proceeding
are called contrarium simplex;
e. g.
Subjeclum rectum.
Contrarium simplex.
278
THIRD SECTION.
The inverted contrary (contrarium reversumj
Fa
tones, and vice versa,
The
is
changed into
first
obtained by adhering
species
is
is
C,
which
rise
on the
left
and
fall
on
that the inversion annals the discords; E, for
into B-mi,
termed the
flat (or
into A, etc.
broad) inversion, and
in five intervals, viz: the Octave, Fifth, Fourth,
Thema.
the Aft into
all
e. g.
In drawing a parallel of those notes
the right hand, the result
instance,
is
musical sequence and, accordingly, changing
strictly to the
Contr. simp
may
Second, and Unison;
occur
e. g.
279
ESSAY ON THE FUGUE.
2dly. the contrary retrograding inversion (Inversio cancrizans contrariaj
where
the foregoing
is
again inverted throughout;
From
e. g.
From B.
A.
1
-^zrzjizzîz^g^z^z^
g
F ^
W-
~t==4
s>
contrary, retrograding.
(Would any one believe
that a
composer with a grain of common sense
could ever demean himself to such ridiculous
The two
intervals
last
species
in
are not applicable
which no
when
avoided; they
may
also
is
paid to the value of the
the leading subject contains a bind
two species may be used everywhere
first
trifles?*).
attention
bound
provided that
the
discords be
be rendered of some small service, inasmuch as
they afford the means of diverging into other keys in a natural manner
is
proved by
the concluding note, note,
THREE-PART FUGATO
IN
which
is
as
almost always different.
THE BROAD INVERSION.

(Composed by G.
Allegro.
tr
V.
Handel.)
tr
Violino
primo.
Violino
secondo.
Basso.
tr
fM^-^-f^-f"
qjx-tESE&p
Shade
*)
of Beethoven
could'st thou but
know
that even
852, there are still some-self-styled musicians and critics

and similar puerilities as matters of importance in composition
grace
now,
in the
who
year of
regard these
P.
280
THIRD SECTION.
r;
fr
-(22
^
,
ESSAY ON THE FUGUE.
281
:_sci
rrA
^^^3
^^^^^^^
^^diB
^^^J
'-
K r\M^_^^^^t__M
282
THIRD SECTION.
*
\
f& fu--a^^-=r-u=r-
+-+ +-++-
*L
BB-
-l
Ej5ÊÊîfa^=fe
?-NT^"
ESSAY ON THE FUGUE.
S2 f^pf
*-
i*>>
rn
k^f
p~^-*-*-f*+J-i
rn^f-faE^5^~^*~r
^&^4^zg^^^^-g?^^^:
^H
-t-a*
0-t-gF1
I-
H-
i=e=^
tr
THIRD SECTION.
(3.
^
i
ÊE 3=3=
SHE
^t=E
Hi
;tet^
ElE*
^:
ff
ESSAY ON THE FUGUE.
283
ELEVENTH CHAPTER.
Of
the double fugue.
This kind of composition

is
particularly that with only two subjects
founded solely upon the counterpoint of the Octave , from which indeed it
scarcely differs at all whether both themes enter together at the very com,
mencement, or separately afterwards, when the repercussions been finished.

To these motivi aro also to be selected two different bats appropriate contra-
which are by degrees combined with the leading subjects. The

regulations attached to the simple fugue must be followed throughout, in
themata,
addition- to those of
double counterpoint
.in
the octave, in order to secure
the necessary transposition of the parts.
To manufacture
pensable
tave
to
a double fugue with three or four subjects it is indisobserve the laws of three-and-four-fold counterpoint in the Oc-
and also the following rules

First,
it
is
customary
to write
subjects contained in the composition
one or two parts more than there are

that one or the other of them may
,
occasionally rest.
Secondly
ner, and not
all at
all
the subjects themselves ought to
move
to consist of notes of equal value;
in a different
man-
they should not begin
once, though they should end together.

Thirdly, none but perfect and imperfect chords
the transposition, and no discords;
e. g.
may be produced by
286
THIRD SECTION.
23
'
good. bad.
bad.
Fourthly, the hind of the Ninth is forbidden, because

changed in one case into I f , in another into J 1 e. g.
;
IEEEE
bad.
good.
good.
bad.
334
60S
bad.
it
would be
288
THIRD SECTION.
Or better
at the
very outset
etc.
Seventhly, the direct introduction of the Sixth with the diminished

is forbidden on the accented parts of the bar, and for
,
Third , in motu recto

the latter
is to
be substituted the Octave or the Unison. Even
in the contrary
motion the chord of Six-three produces a discord of Six-four, by means of

the transposition; the motus obliquus is, and will always prove to be: the
safest card.
or
improved:
bad.
wanting is supplied when the piece is written in

which is not to be conlrapuntally transposed.
these rules be strictly and carefully observed it is possible to trans-
The
many
interval that
parts
If
by the
is
free part
pose (or string the changes of) a double fugue with three subjects in six
ways and one with four subjects in four and twenty ways, without making
,
use of the counterpoint of the Tenth and Twelfth But in order to be sure
and not to make one's reckoning without the host
of succeeding
as the
!
or count one's chickens before they'ne hatched;
is
saying
sable to examine the subjects narrowly

sitions will
Sound
not give rise to some forbidden chords
To
this
transpositions
end one should
witt
it
be advi-
and find out whether the transpo:
nice
work
for a Poet of
try three primary and then three secondary
according to which the parts appear as follows
ESSAY ON THE FUGUE.

FIRST PRIMARY TRANSPOS
Upper
281)
SECONDARY TRANSPOS: OF THE SAME.
Middle part.
part.
Middle part.
Upper
part.
Lower
Lower
part.
part.
SECOND PRIMARY TRANSPOS
Lower
part.
Upper
part.
Upper
part.
Lower
part.
Middle part.
Middle part.
THIRD PRIMARY TRANSPOS
Middle part.
Lower
Lower
part:
Middle part.
Upper
part.
Upper
part.
part.
easy to see that the ground-part of the primary, transposition is

preserved in the secondary, and that consequently the same intervals must
It is
be the
result.
NO.
1.
EXAMPLES OF A DOUBLE FUGUE WITH
SUBJECTS.
THIRD SECTION.
='
Secondary
trans: of
F?
=t==î
jEE
i
inrT~~P=E
the same.
3(8
Third
primary
trans
<
Secondary
trans
of
the same.
E ABOVE FUGUE
WORKED
OUT.
ite
Thema
C.
Th. A.
Ê
7%. B.
TAcwia ^.
291
ESSAY ON THE FUGUE,
Th. C.
S*
-H*^
^-
s-F-*r-
*-i~>
=ZIÎ^^Bfe=j
Th. B.
S
Th. B.
JA. 4.
Th.
Th. C.
i
Decima
Decima
gravis.
Th. A.
gravis.
Th. A.
Th
(Semirestrictio.)
A.
al rovescio.
Th. B.
Th. B.
Th. A.
Is
..
-)
- >""^-f-
-|
^===rf^=îg:frg
^<s> 1-^ M~+~tlM
al rovescio.
Th. A.
Sexta grav.
Th. C.
Dec. gravis.
THIRD SECTION.
E=j
1^^
TA.
PE
5*
,4.
Si SI
^
i
Dec. acuta
*
Th. A.
-^
^-rg-^
3=
^= r- uf "^rT
f
acwfa.
77i.
B.
Th. A.
'^
Decima
-t^f
Decima
gravis.
'<-
gq
^ÊE=E3
gravis.
295
ESSAY ON THE FUGUE.

Th. C.
Th. B.
&
^-]
77
Th. C.
Tertia gravis.
Th. C.
Th. A.
Bi~
g-
(Restrictio.)
n
|
>
--
Th. B.
Th. A.
Th. C.
^-g--,-Jfr_,_g
^
j,
---
_!?_
B.
Tertia acuta.
.
c.
Sexta gravis.
C.
-i
?PfT~|
294
THIRD SECTION.
c.
&p=
Th. B.
TA. B.
f%efi
Tertia gravis.
Th. A.
Th. A.
=t=
Decima acula.
EÊ
H*
--f-f
r-'te*^
-=D
S^tec^nttjt
|^^^
r
ESSAY ON THE FUGUE.
1898
Th. B.
Th. C.
Th. B.
Th. A.
:::t
Decima
Th. A.
gravis.
;=t
^1
3.
Th. A.
C.
Th. B.
:
^PE
1-
^g=i
Th. A.
Ft==
-::;:":
SEE:
Tertia acuta.
-
-f
-(a
it*
iE=Jg=^
7A. C.
B.
^^
Tertia gravis.
**M
=|
296
THIRD SECTION.
r
"[..
A-?
tr
e
Th. C.
TA.
,4.
N'
&m
i
z^zn:
No. 2.
ji.
L
^--^-n-r^rg
x5
^
is
297
ESSAY ON THE FUGLE.

B.
?=l!lEEEig
c.
-^-
ii=
C.
...
fS.
>9
^2
_.
|2fce=g^=e
P&3EZBt
Hi
1
\-&-
afci
&
298
THIRD SECTION.
B.
*=s
3Et=EES=^
JHuJz:
C.
3E
75^
BEE
-(=2.
i3i
5.
-tf2
::
ESSAY ON THE FUGUE.
nP?
'
290
300
THIRD SECTION.
A.
^^ = =I=&=3
=t
a.
}>/
c.
A.
<3>~
3=ÊE==fe
'*
f=r==pg gg3m=z==i
.t-H=====^-|-^Ltt4z^ =^::=::= :==

=
+-=z=
:
ESSAY ON THE FUGUE.
501
i3=
1
-J
tt^-
J
j
^^jî-^zj
Decima acuta.
-q
=j
B.
S^
fc:
T-*
A.
:i==J
_-
"^
*^^^
B.
c.
c.
4.
:i===zr=z=z^=q=z|^2z=i
4=g=^-_g=ggîgEEE|
-?K-
fi.
THIRD SECTION.
B
,4^4-p-g-T*
g.
r ir
i-f
d-hj
^-H^
*r?
c.
A.
c.
^=^4riS
:t
Sexto, acuta.
A.
1~
TeL.fJfi^=
itt]
"Td"
303
ESSAY ON THE FUGUE.

*
TWELFTH CHAPTER.
Of the Canon.
The
Unison
strictest possible Imitation is to
viz
for equal voices
The Canon may
last.
also
is
Canon
make
i.
e.
in
but in some of
certain exceptions
and varia-
The following are the
the like.
different
The
finite, in
2.
The
infinite,
to
in the
is
note to the
the finest opportunity for developing the conundrums of art
mathematical calculations, and

sorts of
Seventh and Ninth
be found necessary
will
it
Here
tions.
first
be manufactered in the other intervals
the Second, Third, Fourth, Fifth, Sixth
these cases
be used when the Canon
or in the Octave from the
and where the close
which the melody closes with a complete cadence.

which begins over and over again from the first strain,
made
is
at
pleasure
at
any point of
division.
The augmented.
The diminished.
3.
4.
The shut canon, where the entrance of the parts is indicated only
by signs and the whole strain is written continuously in one line without
5.
pauses.
The open canon, where each part stands above the other, together
the rests required up to the point where the voices severally enter;
6.
with
i.
all
e. in
the form of a partition or score.
The retrograding canon.

The double, four-part; the
7.
8.
triple,
six-part; the quadruple, eight-
part canon.
The Climax; Polymorphus, (multiplex) canon

which is indicated by its name.
9.
in a circle,
or round;
the organisation of
\
The arithmetical and enigmatical canons
which
like
all
other
kinds of riddles, are easier to invent than to solve, and seldom*) repay the
time and trouble spent upon them. In former times people considered it
meritorious to cudgel their brains with such laborious
is
really
grown
The Canon
little
wiser
in the
now
Unison
for equal voices
trifles
but the world
is
in fact nothing but a
a tre, a quattro etc.

in which one part enters after the
regular a due
one
the
has
finished its phrase.
as
soon
as
The one comother,
preceding
the
that
forms
bass-cadence
selected
is
which
and
produces the most
monly
,
complete whole even in two or three parts

*)
Never.
e. g.
P.
504
THIRD SECTION.
NO.
SKETCH OF A FINITE CANON FOR

IN THE UNISON.
1.
SOPRANO VOICES
Allegretto.
E^
This
is
a shut or locked canon, the third part being written after the
first.
(Here the second voice takes
*.Trf*
it
up from the commencement
17 r f a r*/> /i /*f iKo fKirrl irrvi/^n

f*/\rv^ fV
(Entrance of the third voice, from the
f
commencement.)
h^
In this kind of alternation,

as often as the singers like
ban^M
'
'
or response, the whole
and the
listeners will stand
it.
may be
LJ
repeated
The parts should
ESSAY ON THE FUGUE

not lia too low nor too high
this
an open canon
it
must be
because each voice has

altered as follows
to
sing
it.
(The third part as written in the sketch,

because it contains the bass-cadence.)
Beethoven
Studies.
20
To make
506
THIRD SECTION.
Dal segno
where the parts are united
and
after
which they keep on
alternating.
No. 2.
Andante.
/TV
,t
CANON FOR THREE MENS' VOICES.
507
ESSAY ON THE FUGLE.
~r~r-pG=;=i
earth
'tis
sweet
rest
to
sweet
rest
to
sweet
rest
to
OPEN.
arms
In love's soft
'tis
sweet
rest
to
sweet
to
sweet
rest,
to
rest
In an -
y place
the
weary
head
is
fain to rest, the
H*
In
love's
soft
arms
sweet
'tis
to
weary
&-
rest,
^-!
head
is
fain
to
rest
In
mo
- ther
earth'
Us
Ê&
li
sweet do
rest
sweet
to
rest
In
an-y
place the weary

ft-
In
love's soft
arms
20*
-9-
'tis
508
THIRD SECTION.
m
sweet
rest
to
sweet to
gEp^g^PHf
head
is fain to rest,
the
rest
weary head
is
sweet
to
rest
Sfi
**:
rest!
to
fain
2zt
sweet
rest
to
sweet to
rest
sweet
to
The same proceeding may be adopted with four or more
No.
Moderate.
3.
Canone
rest
parts;
e. g.
a quattro voci.
=t
-
m
SHUT.
SOU
ESSAY ON THE FUGUE.
OPEN.
^3
-=-*f
i-*-- --F""*-
ts*E
.!
JW
r
f
-Li-^-4
f L
^~^
-.'
m,
-*-
-^1
-f^^r-'^f-
=1==}
/
-^~^
^p^li
i
510
THIRD SECTION.
II
-jrj*\
ESSAY ON THE FUGUE.

5S
ti
B-
511
THIRD SECTION.
312
bar, as the Fifth below the preceding part, or Octave below the Alto.
According to the second form of composition the canon would stand thus
The
figures indicate
that of
(8)
the
Tenor
in
the entrance of the Alto in the Fifth below
the Octave below; (12) the Bass in the Twelfth
below.
NO. 5.
A SIMILAR EXAMPLE.
Second below.
-\-m
f^-^
Fourth below.
315
ESSAY ON THE FUGUE.

No.
6.
The enigmatic Canon
is
CHROMATIC CANON.
yet
more mystical;
it
is
generally written
without sags, figures, or letters, and sometimes even without clef!

is
a sort of problem to be
discovers the clue
worked out,
or rather guessed at,
till
This
a lucky
and the correct answers come out
in pure harmony.
The leading thought must be transposed into all the intervals above and
below by inversion and contrary tnotion with a sprinkling of rests and
breathing points; retrograding and by the inversio cancrizans; augmented
hit
and diminished
even the obsolete
(or high Bass) are to be
clefs of the
made use
of,
unfortunately cannot be cut in the easy
And what
Macedon.
is
Mezzo-Soprano and Baritone

Gordian knot, which
to untie the
manner adopted by Alexander
the advantage of
all
of
much cry and little

myself, when I happen to
this?
wool! Perhaps I may some fine day attempt it

have nothing better to do;
Just now, thank God, I am more sensibly
and
it
will
be
a
hope
long while before I waste an hour in such
employed
,
profitless
endeavours.
FRAGMENTS.
Hints for vocal composition.
RANGE OF THE VOICES.

very rare.
soprano.
in Tutti
only
to
^ ^
or at most B.
Mezzosoprano
Alto:
The
first
three tones are scarcely audible in Tutti,

in Tutti only to
G.)
It
Tenor:
The three
Baritone or
high Bass.
Deep Bass
*)
**)
tones are falsetto**).
last
o=
2l_J
for
A good standing
Not always.
rule,
but not without exceptions.
P.
P.
FRAGMEiNTS.
It
notes
is
pronounce words distinctly upon very low or high

most powerful and effective in the middle region.
to
difficult
the voice
is
The Soprano has commonly three different registers in the compass of

two octaves. The first contains four chest-tones (voce di petto).
from C
In the second
The
is
F.
making nine tones,

the voice changes.
zfczzzpTZirri:
The high G
to
produced
third register
in the
upper part of the thorax.
above the
hm
*
from
to
5=
^
t
FRAGMENTS.
L
3_U-f-
*_|
^-4
-^fl_^=^z|
517
FRAGMENTS.
Instead of: rJizz
write:
For-sa-ken.
For-sa-ken.
Dis-pera-ta Porzia
al ve - der spirar lo
'
spo-so
pas-so
len-to
lo
mm
^fct-rt*-^-$=^
fin all'
segue
a - re-na
non sa-ziu
di
la-gri-mar vuol con sospi-rian-
^^=Jjp
r
H-g
co
1
L-u
ra
in-
ghiollir
di
do
4
2
lor
t>
=gsz:
car -bo
ni
^
sue
lab-bra
con
tui
ac-cen-ti.
>
L.
EEEjEi^
The following are bad phrases
of recitative
-* _
~r
f-m..iigip g-i
'
Ifr.
ttr~
-<
<
u~
"
^rJî
~
ti
in -
terrom-
nq
-fc
pen-do
r
-
br
ziizk~
arden
FTT" ~m~?~ ~^t=f.
FRAGMENTS.
518
Short hurried sentences
De-il
Harmonies
di -
fen-di?
sog-no?
sadness and lamentation
to express
6
And,
me
tu
de-sto?
similarly, the modulations taken in the contrary direction:

*
The
son
rise
and
fall
decrease of emotion
of the voice should
.6
be regulated by the increase or
e. g.
%-.
*-'
pg=P=
Apollo,
di
Ma
Amante
cie - lo
che veg
go
Dafne.
mat?
frondo-se
di -
vengon
\>i
spunta-no ver-di rami
9e
le
tue
mani;
dal-le
membra
in ar-bo - re can - giata
tu mie voglie de-
#*====
319
FRAGMENTS.
lu -di
di - spie - ta - ta
Expression of wonderment and delight
Caro Unulfo, guida mi a
ram-mi
A
ny
qual con - ten
striking effect
is
lei,
to
sapra, che son
vi-vo,
se in
Milan ve-de-'
produced by the voice
falling
along with the harmo-
e. g.
Ah,
my Em-ma - nu-el
Re-deem-er!
>-
r4fe
stringgling with his
sorrows,
full
lies,
de-jec-ted,
Ê
of
an-guish,
yet
re-sign'd!
3PCZ
Foj, che inspirate

b
low he
ca-sti affet-ti al-le nostr' alme, voi, che al pu-di-co
^|
~
;
I
i
tr^5
^gy~
Ime-
520
FRAGMENTS.
E5QE^5E8EEÊSEÊE3i
.zn_u-i^-^-g^= b=tfcd
ne-o
fo-ste presen-ti
di-fen-de-te
nu-mil
la,
:t
The expression
He
is
rendered more forcible by repeating the words
from death the gent
rescued
- le
e. g.
with love's al-migh-ty
girl,
i^
zrb
by
power,
think, (with
improved
-p~E.
ci: zjjfcz2nir
It
yonder heav'n
swear,
^-
?&
i<
B-
g*
._g=p_gq-^=
with love's
al-migh-ty
power!
some
in the following
alteration of the words)*)
manner
'twas love's om-ni-potence,
the passage might be
by yonder heav'n 1 swear.'twas love's om-nipotence
A
1
CONTRASTING EMOTIONS.
y
_-iff
..
ÊSS=f
t*^
1^
Sposo
-ir
confes
*)
figlio,
me-ta
-de
Grimo-al-do cru-dell
r
(che so?)
I/-
miei sos-pi-ri!
'
- sar-t i -
fc
cliiederli- (o
Diol)
ir
che angoscia c qtiesta
The same words are retained in the German version (which was not possible
and the improvement consists merely in a more correct accentuation of
in english)
the syllables.
P.
521
FRAGMENTS.
i?^
gf
pt-^
T _^
fr
____rl^
t3
t7
sa - cri
- zio
fi
pa - dre
la
BS_
_J^
4j
~-Z^
P-
leg
- ge
.,
;
^_k-_^_
HEH**
-^ra^t^^te^^^^ =
:-J-g- g
U-
sor-<e
con-
la
__ Vs
k<
(o leg-gel)
sa-
spo-sa!
-,
=tz=
cri -ft- zio!
ohsor-te!
-(C/_
full
close
is
made by means
JL,,
-f:
Close of one period
at
the
of the bass-cadence
same time
anticipating the next
V-
-V-
Let
thy brother
now em - brace
Also by the use of half cadences
theel
1=4=
;
e. g.
~~T
Thou know'st him not?
Beethoven, Studies.
'tis
well
:~^
'
thy ho-ly will be done
FRAGMENTS.
522
Con-sol'd he
- ses
ri
'
up, strengthen'd
fcj&Ft
an
gels
thro' the twi-light
by gracious whispers
of
i=fe=*
air,
and
lo!
his
foil'
wers are with
aJ
fe
hea - vy sleep op-prest, they
lie
up - on the
grass,
and sadly dream

i>9
if
*
rzs*
of
525
FRAGMENTS.
'
'
Phrases to express interrogation

'
Minor.
=1
is
that
Mes-si-ah?
is
that Mes-si-ah?
is
that
Mes-si-ah?
*f
am
bis
am
Friend?
his Friend?
am
.
for-sa-ken?
%
What form
is that,
so
faint
and
pe
What form
rish-ing?
is
that,
so
faint
and
pe- rish-ing?
bf,
The word most important

verb.
to
to
the sense
must be accented the strongest;
upon a substantive, verb, pronoun, adjective, or adExclamatory questions will be most happily expressed by a skip
the accent
may
fall
reach the principal word in the sentence
as for instance
21*
FRAGMENTS.
Several sorts of exclamations.
Sposa
figlio,
ger-ma-na, a-mi-co,
oh
Dial
tanti
be-ni in un-dil
t
'Tis
Sogno ?
on
ly
one
non desta
that
oh
fol
Dei !
lows af-
ter
freddo
Je - sus
ge-lo
b
hut sad
and
ri-cercan-do mi
325
FRAGMENTS.
Andante
-4
for
two
violins arid violoncello,
(a Torso or Fragment.}
:U
Zfat
Allegro for the
same instruments.
(Overture
by
G. F. Handel.)
t)
520
= 2:
-j
r-
"
l-
-d
* 0* ^&*
"'
"""^
J.^
677
"^ ^^
*^
527
so/o.
FRAGMENTS.
tr
mP-PM-
'
>l
T-fj
^ ^
~r
APPENDIX.
BIOGRAPHICAL NOTICES.
German
(Translated from the
of
I.
v.
SEYFRIED.)
LUDWIG VAN BEETHOVEN was born the 17. of December 1770
where
his father
was
a tenor-singer in the Electoral chapel.
at
Bonn,
The boy
*)
dis-
played at a very early age a strong passion for music, so much so that his
observant father thought it right to teach him the elements of the art at the
commencement of his fifth year but finding in a short time that his own
knowledge was not sufficient for a genius whose progress was unusually
;
rapid
BEETHOVEN'S father resigned the
Herr VAN DER EDEN

pianist in
who was
Bonn. After
office of tuition to the
Court-organist
considered at that time the most accomplished
this master's death
LUDWIG became the pupil
who was remunerated
(the successor of VAN DER EDEN)
of
for his trouble
NEEFE
by
the
Archduke MAXIMILIAN of AUSTRIA, the then Elector of Cologne. This wise pre-
made
ceptor
tier
who
shewed a preference for the lofwith

the works of I. SEBASTIAN BACH,
acquainted
his zealous pupil,
styles of composition
already
which continued throughout BEETHOVEN'S
life to
be his especial favourites, as
also those of the immortal HANDEL**). Whilst the gifted
boy,
at the
age of
eleven years, now played the ,, well-tempered harpsichord" with astonishing

execution and taste, he made his first attempts at original composition, and
produced variations on the theme of a march, three Solo-Sonatas, and seve-^

which were published at Speyer and Mannheim. The peculiar fteld
ral songs,
for the
display of his genius
pianoforte
and
his
power
of
was
however
that of improvisation
working out a given subject
(of
on the
which GERBER
speaks in his Lexicon of musicians) greatly astonished the learned composer

JUNKER, before whom BEETHOVEN once played. BEETHOVEN being now, tho.'
*)
LUDWIG VAN BEETHOVEN used
to
name
the 16. of
December 1772
as his
birtli-r
day, but this appears to have been an error.

**)
BEETHOVEN spoke,
of BACH.
however,
much more
reverentially
of
HANDEL than
quite a youth, capable of handling the organ with considerable skill, he
appointed (by the Archduke) successor to NEEFE,
and received the
was
title
of
C ourt- organist together with the permission to make a prolonged stay at

Vienna, free of all expense, in order to profit by the instructions of the celebrated JOSEPH HAYDN. This great master being, however, invited to conduct
,
the performance of his
own works
in
England
he entrusted BEETHOVEN
to
the care of the learned theorist ALBRECHTSBERGER, then director of the music
Cathedral of Vienna, and by him BEETHOVEN
at the
was
first initiated
into the
mysteries of counterpoint*).
The earnest
is
attention
which BEETHOVEN paid
to his master's instructions
by the Studies here given to the world and the

cannot but remind his readers that this volume contains only the tenth
incontroverlibly proved
editor
part of the Manuscript
which was found among BEETHOVEN'S
papers; there being often as

theoretical subject,
It is
school; and
appended to each
which would have been superfluous.
observe that BEETHOVEN'S original cast of mind
to
reject or ridicule
posthumous
as 50 or 60 examples
the publication of
scarcely necessary
made him
many
many
of the rules and wise saws of the old
his sarcastic marginal notes,
which are well worthy
of perusal,
are quite in character with the habit he always retained of clothing his
most
secret thoughts in words.

as a composer, and was
Vienna as a pianist of the highest order, when the famous, al-
BEETHOVEN had acquired no small reputation

regarded in
now
though
forgotten
WOELFL appeared
and became BEETHOVEN'S
rival
(at
the close of the last century)
indeed the party-feeling in
this case attained
almost as great a height as in the case of GLUCK and PICCINI at Paris**). The
amiable prince LICHNOWSKT was the most distinguished of BEETHOVEN'S adherents
and the accomplished Baron RAYMUND VON WETZLAR the most zealous
whilher he had
*) BEETHOVEN made a short stay at Vienna, in the year 1790
gone for the sake of hearing MOZART, to whom he bad letters of introduction.
BEETHOVEN improvised before MOZART, who listened with some indifference, believwith his characing it to be a piece learned by heart. BEETHOVEN then demanded
,
ambition, a given theme to work out; MOZART, with a sceptical smile, gave
him at once a chromatic motive for a fugue, in which al rovescio, the countersubteristic
double fugue lay concealed. BEETHOVEN was not intimidated, and worked
out the subject, the secret intention of which he immediately perceived, at great
length and with such remarkable originality and power that MOZART'S attention was
ject for a
and his wonder so excited that he stepped softly into the adjoining room
where some friends were assembled, and whispered to them with sparkling eyes
,, Don't lose sight of this
young man, be will one day tell you some things that
rivetted,
will surprize
**)
Or
of
you !"
HANDEL and BUONONCIM
in
London.
patron of
palace of
WOELFL
the
Schonbrunn
latter
possessed a delightful
where he entertained
all
villa
the native
rear the royal
and foreign musi-
with a truly english*) hospitality. The rival pianists used

to meet here and enchant the company with their skill and talent, WOELFL
cal artists of merit
being by no means unable

improvisator:
two
these
to
cope with BEETHOVEN as an executant and

gladiators wrestled with each other,
aftistical
though without animosity, and let their imagination run wild in all manner
of capriccios and vagaries of fancy, sometimes playing duets, sometimes
working out themes which they had mutually proposed and that so finely
,
they could have been written down they might have belonged to those
works which posterity does not willingly let die." As far as mechanical
that
if
went it would have been scarcely possible to decide which ought

bear away the palm; nature had given WOELFL the advantage of a large
hand, with which he played tenths with perfect ease, and which enabled
him to make sport of the most difficult chromatic passages. BEETHOVEN'S
dexterity
to
improvisation
gave tokens of that dark and mysterious colouring
already
which afterwards so strongly characterised his works he was lost in the

realm of thought, and forgot time and place when at the instrument he ruled
;
over a kingdom of his

times he would strike
own
and compelled the spirits to obey him. Somethe keys with such force as to break a string or two,
,
fancying he had an orchestra under his fingers; then he would sink back,
and fall into a fit of melancholy. Every shade of feeling was expressed by
him with equal mastery, but he inclined more to pensive than to joyous
strains and his playing was less easily understood and appreciated than that
,
of
WOELFL, who was bred
in the school of MOZART
without flatness or poverty of invention
flowing
means
to a certain
end
ever clear, equable, and

Art was to him only the
not used for the display of pedantic learning but

for the delighting of his audience, who could always follow his well-arran,
who
have heard HUMMEL play will understand this. The unprejudiced listener found a peculiar pleasure in quietly
observing the two noble friends of the musicians who rivalled each other in
ged and perspicuous ideas. Those
the attentions and delicate courtesies which they lavished upon their favourites**),
and
in witnessing the full
ciation of their efforts
which both
measure of praise and intelligent apprewere sure to obtain.
artists
There was no envy or jealousy between them, nor did they care much
panegyrics of their patrons, because they respected each other's
for the
*)
**)
Literally translated.
Ye english Lords and Ladies, who patronize musical
artists
and think
yourselves wonderfully condescending if you give them a place at the second table,
read this and profit by the example.
p.
,
powers
and guaged them more accurately than others could
the generous belief (which
world
wide enough
is
alas
for
is
not universal
who run
all
and both held
among musicians
!)
that the
the fiery race of artistic competition,
Fame for the goal.

Meanwhile the German empire was
with the temple of
disturbed by war, and the death of

BEETHOVEN'S exalted patron, the Elector, had destroyed his hopes of obtaining a higher appointment in his native city; but as he had hitherto been
well remunerated both as pianist and composer, he chose. Vienna for his
permanent residence the more so on account of his two younger brothers

followed him thither, and who assisted him in the management of
,
who had
which BEETHOVEN was
his
household
his
compose Quartetts, and succeeded even in

earliest attempts: he was fond of this style of music, and it was natural
him to give his mind to it, seeing that HAYDN, whose genius may be said
affairs
of
At this period he began
for
to
have created
larged
its
it
and MOZART
boundaries and given
both resident
it
whose comprehensive imagination had ennew dignity, were his contemporaries, and
BEETHOVEN
Vienna.
at
deepened and widened it, and bore it

been reached by any other composer.
He enjoyed
totally incapable.
to
peculiar advantages
carried the Quartett

aloft to
in his friendship
executants SCHUPPANZIGH, WEISS, and LINKE,
still
farther;
he
a height which has not hitherto
members
with the masterly
of Prince
RASUMOWSKY'S
private band. To these skilful players BEETHOVEN used lo shew his Quartettcompositions as soon as completed and fully explain to them his ideas re,
garding the lights and shades of expression which he desired in the perfor-
mance; by
this
means
the Quartetts
were rendered with an
insight into their
and a truth of feeling which made it a common

saying at Vienna, ,,if you wish to hear BEETHOVEN'S chamber -music for
stringed-instruments really performed, and desire to comprehend it and
spirit
a unity of purpose
know
its beauties, you must hear it

played by those artists." This was the
opinion of competent judges, and every one says still, ,,alas, so it was!"
For these masters of the craft are now no more.
The
opened
instructive intercourse
to
him many
which BEETHOVEN had with SALIERI having

he no longer
of the secrets of dramatic Compesition
made
refused to comply with the frequent requests that were
an Opera.
Herr SONNLEITHNER undertook the
to
him
to write
which he arranged
after the french drama ,,L'amour conjugal," and entitled Leonore or Fidelio.
BEETHOVEN promised to compose the music for the operatic company of the
theatre ,,an der
and where he
At
Wien,"
now
this time
set to
in
libretto
which apartments were assigned to him

in earnest, and with much gusto.
gratis
work
commenced BEETHOVEN'S acquaintance with
the editor of
which afterwards ripened into a warm friendship. We lived

under the same roof, dined together, and although I had long acknowledged
the lofty claims of this great Poet of Sound and seen in him a star of the
these papers
magnitude, his childlike disposition, purity of mind, and profound goodness of heart were to me a continual source of fresh enjoyment. All the
first
works
unwearied genius produced
that his
in the short space of
two years
upon the mount of olives,"

the Violin-concerto, the Sinfonia eroica and pastorale, also that in
all of which he
C-minor, the Pianoforte-concertos in G, E\>, and C-minor
the wonderful ,,Leonore," the Oratorio ,,Christ
composed
for
performance
at
own
concerts for his
benefit
and which were
all these implayed by the excellent orchestra which I then conducted,

mortal works I was fortunate enough to be the first to hear and admire. The
,,Fidelio," now so widely celebrated, was first produced under very unfavourable auspices. Not only were the parts entrusted to vocalists who were
unequal
to
the task,
but the gradual approach of the war to Vienna had
already distracted the attention of the public. For the performance in the
theatre at Prague
now
BEETHOVEN wrote
new and
less difficult
Overture, which
Score and orchestral parts by M. HASLINGER. In course

published
of the following year the Opera of Fidelio was chosen by the regisseurs of
is
in
the Carinthian-gate theatre for their benefit; the
work was then re-cast
in
present form and reduced to two acts whereto was superadded the fine
overture in E-major
which , however was not completely copied out
its
the
first
of Athens," in
G-major, being substituted
for this representation, the
of the
evening, and was therefore not played; the Overture to the
first act,
march
for
in Z?J7, the
which did not previously
exist
it.
BEETHOVEN
also
,,
Ruins
composed,
Song of Rocco, and the Finale

an extremely melodious Ter-
and a charming Duettino for Soprano voices with Violin and

Violoncello o b 1 g a t i (in C-major
time) were rejected by him , and are
unfortunately not to be found in the original Score.
zetto in
{?,
In the year
conductor
at
1809 BEETHOVEN determined
the Court- theatre in Cassel,
to
preferring the prospect of a sure provision for

of remuneration for his works,
which was
In order to prevent his departure,
accept the
office of operatic
which was then
all
life to
offered to
him;
the precarious chances
he could reckon upon
and recompense him
for
at Vienna.
ghing up
this
appointment the Archduke RUDOLPH (afterwards Cardinal-Archbishop of 01miitz) and the Princes LOBKOWITZ and KINSKY, made BEETHOVEN the generous
,
offer of
an annual pension of
50.*)
*) This sum, viewed in proportion

was equivalent to 500 in England.
the
document
to the
in
which the
cheapness of Vienna
joint offer
at that time,
8
was made
to
him being couched in the most respectful and flattering terms.

to him until he should either receive an appointment
sum was secured
This
of equal value (that of Cassel being of inferior value) or, should this not occur, until his death
annexed being
the only condition
to reside in the Austrian
that of his continuing
dominions.
BEETHOVEN, touched by these proofs of appreciation and regard, resolved
remain
to
He remained,
unceasingly
at
Vienna
to the great
to build
death carried him
fast-bound with the flowery fetters of gratitude.

joy of his friends and admirers, and laboured
up the temple
away
to the
of his
unknown
own
immortality
until the angel of
land of purest harmonies
and
left
who loved him so w ell, his honoured ashes

they rest in our peacechurchyard at WAEHRING, whither no one makes a pilgrimage without
bedewing with his tears the sod under which the great magician sleeps.
T
us,
ful
Who
can regard that sacred spot without feelings which make him return
a better and a wiser man? But who, alas, can see it without lamenting
home
our heavy loss
Many were
received; a medal
lorle
the marks
of high consideration
was struck
in
honour of him
which BEETHOVEN now
at Paris, a fine
grand-piano-
together with the splendid edition of HANDEL'S complete works, then
were presented to him by friends in London the latter valuable

was
sent
gift
by Herr STUMPF, and was a source of the greatest enjoyment
to BEETHOVEN during the last few years of his life.
He was also presented with the freedom of the city of Vienna and
so rare
made honorary member
of the royal
Swedish Academy
the Society of Musicians at Vienna, etc. etc. But
compensate for the misfortune
that
now
fell
all
of Music , as also
of
these honours could not
upon him, viz: the loss of his

The disease of the ear which
hearing, so painful a loss for the musician.
caused his deafness developed itself, indeed, very gradually, but refused,
from the very first to yield to any means adopted against it
and at length
,
ended
in a total deprivation of hearing
which rendered
oral
communication
with him impossible.
The unavoidable consequence of this was that BEETHOVEN withdrew

from society, and sought refuge in solitude; he became shy and suspicious,
his natural
per grew
tendency to melancholy increased to hypochondria, and his temand uncertain. His only pleasures lay in reading, compo-
irritable
and taking walks into the country of which latter recreation he was
remarkably fond. A small circle of faithful friends formed his only society.
By degrees he began to suffer from other physical evils, which compelled the
sing
once so robust and healthy man to seek medical aid. Dr. WAWRTJCH, an eminent clinical Professor, left nothing untried which could alleviate the suffer-
ings of his honoured patient
for
of dropsy
symptoms
but there was no hope of a permanent cure,
on the chest soon declared themselves
He died
at 6 p,
effect,
this
he underwent repeated operations, but
disorder advanced with rapid strides
each time with diminished
and
while his strength was alarmingly reduced.
m. on the 26. of March 1827.
made his nephew CARL VAN BEETHOVEN his only heir,

he was much attached, and whom he had adopted
but whose conduct did not repay the affection lavished upon
as his son
and acknowhim. BEETHOVEN was not at all fond of giving instruction
In his last will he
a young
man
to
whom
ledged none as his pupils except his nephew, the Archduke RUDOLPH, and the
talented FERDINAND RIES.
BEETHOVEN was by no means in narrow circumstances having left

sum of 9000 Florins *) (Austrian c.) which, as before mention,
behind him the
ed, was inherited by his nephew. His compositions especially during the
later years of his life, were well remunerated, and he received very considerable sums for the copyright of his Symphonies, Quartetts, etc. from the
,
publishers STEINER and Comp., Messieurs SCIIOTT in Mayence, SCHLESIXGER,
and
he sent copies of his second Mass (before publication)

European potentates, and received from them, in the aggrebetween
and 700 ducats for the same.
600
gate,
others.
Moreover
to several of the
How
was esteemed and honoured**)
highly BEETHOVEN
at
Vienna
known; Prague, Berlin, and Breslau, as well as other large

Germany, paid him the highest honours after his death, and it may
well
said
the
that
whole of the
civilized
is
cities of
truly
world mourned his decease.
be
Solemn
Masses (MOZART'S and CHERUBINI'S Requiem) were performed in the churches

of St. Augustin and St. Carlo at Vienna on the day of his funeral, and a grand
concert was soon afterwards given in his memory, at which none but BEETHOVEN'S compositions were performed
the receipts were devoted to the
erection of his monument in the churchyard of WAEIIRING.
;
The
which
here reprinted, concerning BEETHOVEN'S funeral

was written by an eye-witness.
BEETHOVEN was unmarried, and singularly enough, is believed never
article
obsequies,
to
is
have been
is
well authenticated, and
in
love***).
ance are correctly given
The chief
in
most of
characteristics of his personal appear-
his portraits f)
without including the 100

*) About 890
presented
monic Society in London, and which were found untouched
**) Longo post tempore
,
he was rather below
to
him by the Philhar-
after his death.
***) This
i)
is
The
is
an error.
portrait
by KRIEHUBER
considered the most

Beethoven, Studies.
faithful
of Vienna, forming the frontispiece to this volume,

P.
(because not idealized) likeness extant.
22
TRAITS OF CHARACTER AND ANECDOTES.
10
and enjoyed robust health
the middle height, strongly built,
in spite of his
peculiar habits, until within a few years of his death.

(From (he German of Seyfried, with additions, derived from private sources, by the
Translator.)
BEETHOVEN always spent the summer months in the country, where

he was accustomed to write in the open air with the greatest comfort
and the richest
Modling,
Lower
that
He once took
results.
he might enjoy,
a lodging in the romantic village of
to his heart's content,
Austria, the lovely Briel.
the Switzerland of
luggage-waggon with four horses
was
freighted, with a very small proportion of furniture certainly, but on the other
hand with an immense mass of musical matters. The lowering machine was
and the proprietor of its treasures marched before it

the most perfect contentment of mind. Scarcely
per pedes Apostolorum
was he out of the city
between green cornfields undulated by the
put slowly in motion
in
with the song of the lark thrilling above him as it greeted

advance of spring
than his creative spirit awoke. Ideas jostled
each other, were selected, arranged, noted down with the pencil
and the
journey and its object were clean forgotten. The gods only know where
zephyrs's breath
in extasy the
the
Composer had wandered in the long interim but at length about twilight
at his chosen Tusculum
perspiring at every pore covered with
;
he arrived
dust, hungry, thirsty, and dead-tired. Heaven help us!
awaited him
adventure
two hours
ties
what a spectacle
The waggoner had accomplished his snail's progress without

employer, however, who had already paid him, he waited
for his
in
vain. Totally unacquainted with the
and having
settled that the horses
he made short work of
it,
shot
down
must sleep
his
entire
Composer's eccentriciin their
own
stable
freight into the
market
and returned home without farther delay. BEETHOVEN was at first

very angry, then he burst into a fit of laughter, and at length having
hired half a dozen of the gaping boys in the street, he had enough to do,
place
before the hour of midnight
by Luna's beams
posit
them under a
was
called
by
the watch,
to collect the scattered
and fortunately favored
elements of his property and de-
safe shelter.
When the Composer brought out his Fantasia for the first lime with
an Orchestra and Chorus , he directed at the usual hasty rehearsal that the
,
second variation should be played through. In the evening, however, completely

absorbed
the
in his
own
had given, and repeated

a combination which
creations, he forgot the order he
while the Orchestra accompanied the
first part,
1i
last,
by any means produce a good effect. At last, when it was a little

Composer began to smell a rat, suddenly stopped, looked up
amazement at his bewildered band, and said dryly ,,0ver again;" the
did not
too late, the

in
Leader, ANTON WRANITZKY, unwillingly asked ,,with the repeat?" ,,Yes" was
echoed back and this time things reached a happy conclusion. That he had
,
to a certain
degree affronted these excellent musicians

by this irregular
at first allow; he contended that it was a duty to,
,
proceeding, he would not
and
repair any previous error,
performance
his Orchestra for

self
that the public
spread the story abroad
to
had a
right to expect a perfect
money. Nevertheless he readily begged pardon of

the unintentional offence, and was generous enough him-
for their
and
to lay all the
blame upon his own
abstraction.
The more
his
want
of hearing
and
his
(in
latter years)
his increasing
derangement of bodily health, got the upper hand, the oftener did every fresh
symptom bring with it the martyrdom of hypocondriasis. Then would he
begin to complain of the deception and treachery of the world, of its wickedness falsehood and suspicion he would exclaim that there were no longer
,
any
be met with, and in short he saw everything in the

and at length he even distrusted his long-tried and
intelligent beings to
darkest possible hue
honsekeeper. Suddenly he took the resolution of becoming indepenand this strange idea like all others was no sooner formed than it
faithful
dent ,
was
bought
eatables.
would
and
work
set himself to
Thus he went on
He went himself
carried into execution.
for
to
prepare
some time
to
,
market, chose, bargained and
with his
own hands
and as the few friends
his
own
whom
he
endure in his neighbourhood made strong remonstrances with

him on the subject, he became very indignant, and invited them to dine
still
the next day
order that they might
in
in the noble art of Cookery.
would happen,
host
to arrive
see the proofs of his proficiency
The guests did not
fail
in expectation of
what
They found
their
punctually at the time appointed.
in a dressing-gown,
his
head covered with a
night-cap, his
stately
waist girdled with a cook's blue apron, and fully occupied at the stove.
After an hour and a half s trial of patience , during which the imperious
demands
of
chat, dinner
which
is
hunger could
was
at
with' 'difficulty
charitably dispensed as such
warmed through
and
be
kept
down by
lively
chit-
length served. The soup reminded one of the refuse
fit
at
hotels;
the beef
only for the digestion of an ostrich
was
scarcely
the vegetables
12
swam
in a reservoir of
lukewarm water and grease
burnt to a cinder. Nevertheless
recommence
the attack
and the roast meat was
the master of the feast failed not heartily to
upon every
and endeavoured
dish,
to
animate his re-
luctant visitors, both by his own example, and by the most extravagant
praises of the delicacies set before them. These however, after having con,
trived to
swallow some few morsels, declared themselves
Composer, soon
ulterated juice of the grape. Happily the
rable repast,
which he did not again venture
model.
and made
and the unad-
memo-
after this
tired of his
himself an indigestion by his
As
adventures in the kitchen. He voluntarily resignthe housekeeper was reinstated and her master returned to
grew
ed the sceptre
his desk,
satisfied
fresh milk, sweetmeats,
their dinner chiefly of dry bread,
own
to
desert, for the sake of giving
culinary preparations.
Conductor BEETHOVEN could by no means be considered as a
Woe
to the
Orchestra which did not exert
being led astray by his baton

composition, and
was
all its attention to prevent

he had no feeling but for the poetry of his
for
incessantly in motion, through the
numerous
gesticula-
by which he was accustomed to betray its effect upon him. Thus he

frequently gave the down beat in any forcible passage although it occurred
on the false accent of the bar. He was accustomed to mark the whole protions
gress of a diminuendo passage, indicating the most gradual decrease possible,

and literally almost slipping down under 'his desk when the pianissimo was
reached. So
when
the sound
as from below, and with the
on
tiptoe almost to a
appeared as
if
muscle seemed
As
his
was required to increase he himself rose up

commencement of the Tulti, he raised himself
,
and with both
giant height,
about to take his

in action
iito
flight
his
arms spread out he

every nerve and
the clouds;
and the whole man resembled a perpetuum mobile.

most woeful discords frequently oc-
deafness increased, however,
curred, the Conductor beating in one time and the band accompanying in
another. Piano passages
heard absolutely nothing
were most
;
all
was
easily
conveyed
to
him
of the Fortes he
confusion. In such cases, he could only be
guided by his eye; he watched the bowing of the stringed instruments,

guessed at the musical phrase which was being executed and soon set himwhich
self right. But he did not possess the mechanical gift of conducting
,
indeed
is
seldom
imagination.
to
be met with
in
any composer
of real genius
and
fiery
15

Before BEETHOVEN began to be troubled
constantly present at the
his organic defect,
by
performance of Operas,
he was
particularly those which
took place in the beautiful Theatre on the Wien, which he preferred visiting
it was so
conveniently near to his own dwelling. Thither was
because
he more especially attracted by the compositions of CHERUBINI and MEHULJ

which were then just beginning to kindle the enthusiasm of the Viennese,
and upon such occasions he planted himself against the back of the Orchestra,
and remained as mute as a statue, till the last note had been played. This
silence, however, was the only sign by which he showed that the composition
when on
interested him;
the right about, the
things
was
it
difficult,
first
the contrary,
It
Above
was generally
silent,
and,
to all
cold and reserved in his opinions about his compeers in art
spirit alone
marble.
did not please him, he turned to
was
is
all
nay, next to impossible, to draw from him any sign
either of applause or disapproval; he
pearance
it
time the act-scene dropped, and fled.
restlessly at
work
its
fleshly
tenement seemed
aphis
like soulless
a curious fact that he would sometimes listen to unmislakeably

real exultation, which he proclaimed by the most noisy
bad music with
bursts of laughter.
seldom knew
aware
that
how
It
to
was only
pity
that those
he was accustomed
to laugh
and witticisms, without giving any
think
no orchestra
in the
at
openly
his
own
secret
thoughts
farther explanation of them.
Our Composer by no means belonged
who
commonly around him
account for such peculiar explosions, and were not
to that class
of vain musicians,
world can be deserving of thanks. Sometimes
indeed he was too indulgent in not requiring faulty passages at rehearsal to

be repeated; ,,It will go right next lime" he would say. With regard to expression, he
was
strict in
enforcing the most delicate
nuances,
the most
and shade, as well as an effective

and
discussed
these
points without restraint or want of temper
tempo rubato,
with any body. When however he perceived the musicians entered into his
nicely-proportioned distribution of light
and went together with increasing unanimity, wrought upon by the

his countenance lighted up in a moment,
ideas,
magic of his artistic creations,
every feature was animated by satisfaction
mouth
finest
and
moment
thundering bravi
lutti
happy smile played about his

it was the
artists
rewarded the excited
of triumphant self-consciousness
before which the shout of
applause from a large and eager audience faded into insignificance. At a

trial a prima vista it was often necessary, in spite of the presence of the
Conductor, to stop, and thus cut short the thread of the whole composition;
14
even
he would bear very
this
to his
patiently.
symphonies, they lighted
change of time
in
But when, particularly
BEETHOVEN would break out
sure them that ,,he should have expected
been
all
into a chuckling laugh
and
nothing less,
and ashe had
that
along prepared for it;" and he showed childish joy at the feat, as
he expressed
of
it,
,,
having thrown such stalwart knights out of the saddle."
While BEETHOVEN was writing

mentioned
theatre
in the scherzos
confusion upon a sudden and unexpected
his Fidelio,
in the biographical notices, in the
he
has already been
lived, as
buildings connected with the
on the Wien, and gave there several concerts,
tion of his
new
compositions
for
the
produc-
as well as for the performance of his earlier
works, which even then had attained to celebrity. Upon the production of his
G and E flat, he invited the Editor of this work,
Pianoforte Concertos in C-minor,

in the
his
most friendly manner,
over for him, and thoroughly enjoyed

he could make out little or nothing
was with interpolations and marks of all
to turn
bewilderment when he found
from the Score,

descriptions.
covered as
He had
in fact
it
merely noted down the Ritornellos and the first

memoranda for himself, and in characters which
notes of the solo passages, as
nobody
else could
others quite blank,
comprehend, and had left many bars half filled-up,

to be finished at a more convenient opportunity.
Such
being the state of things we came to the agreement that I should before he
reached the bottom of each page , be warned to turn over. During the performance however, the Composer, then still cheerful and alive to the enjoy,
ment
any harmless joke and innocent roguery, could not deny himself the
pleasure of putting me into a fidget and delaying the promised signal as long
of
as possible
that
generally
till
should have deserted
music atoned
for the
the very last
my
moment. This made me so nervous
post in disgust, had not the beauty of the
Composer's ill-timed pleasantry.
Amongst his favorite dishes was a soup prepared like a panada, upon
which he was accustomed to regale himself every thursday for this purpose
;
he required that ten fresh eggs should be brought to him on a plate which,
before they were broken, he held up to the light and marked one by one, in
,
order to ascertain their goodness.
If it
was decreed by
Fate that he should
one or two of them, the tell-tale effluvium, a scene immediately

voice of thunder cited the hostess to appear, who in the meantime,
perceive, in
ensued.
well knowing what the
summons portended, gave only
the door, to the storm brewing within;
if
half an
ear, behind
she ventured to shew herself,
TRAITS OF CHARACTERS AND ANECDOTES.

betide
\voe
the
her!
for
threshold;
followed
and
volley of rotten eggs
neither
soft
was sure
13
meet her on
to
nor sweet were the epithets that
Without a
little
down his ideas upon the inby chance this was referred to in
Arc's*) words ,,nicht ohne meine
note book, wherein to jot
stant, he never appeared in the street.
If
conversation, he used to parody Joan of
Fahne darf ich kommen" and with a tenacity quite surprizing did he adhere to this self-imposed law, though in all other respects his household
presented an admirable scene of confusion. Books and Music were strewn
there sealed
here the remains of a cold breakfast
about in all directions
or half-empty bottles
yonder upon the desk the rough sketch of a new
near
it the last new poem or romance.
On the piano might be
and
quartett,
on the table
seen the half-finished Score of a symphony as yet in embryo
a proof sheet waiting for correction
private
and business
latus
Composer had
the habit,
(in
manifest contradiction to the
fact,)
all
of boasting, at
the eloquence
was only when something that was wanted had to be hunted

hours, days, and even weeks, and it remained in obstinate seclusion,
he assumed another tone, and the innocent suffered for the faults of
of a Cicero.
that
cove,
every opportunity, of his accuracy and love of order, with
for,
letters
between the windows a respectable stracchino cheese ad

the fragments of a Verona saussage; yet in spite of this medley, our
ring the floor
It
,,Yes yes" he would say complainingly

nothing can remain in the place where I put it
another.
,,that is
all
my
the misfortune!
things are distur-
upon me, a deaf man !" The servants

however well knew the goodtempered grumbler; they let him scold to his
heart's content, and after a few minutes of ill-humour all was forgotten, until
bed, and tricks are everlastingly played
a similar negligence
produced a similar scene.
He
frequently made himself merry at the expence of his illegible handand said as an excuse, ,,Life is too short to allow one to paint letters
and notes**). ,,Schonere Noten brachten mich schwerlich aus den Nothcn."
writing,
The whole
of the morning, viz. from daybreak
dare not come without
till
the hour of dinner,
was
Schiller's Joan of Arc.

my Banner
would scarcely keep me from necessity." As it will be seen, the
point of this sentence consists in the play upon the two words Noten and Nothen,
and therefore the translation cannot convey it. Unless I may he allowed to subsitute an English witticism conveying the same sense, Musical notes are not
Bank notes.
*)
**) ,,Fine notes
16
in
employed
mechanical work or transcribing
was devo-
the rest of the day
ted to reflection, and the arrangement of his ideas. Scarcely had he swallow-
ed the
last
mouthful of his meal
moment some
than off he started (unless he
fresh inspiration)
accustomed walk
to take his
felt
at the
e.
he ran
i.
in double quick time

if by compulsion
twice round the city. He was
once seen, just outside the gates, standing quite alone, with his hat off, contemplating the heavens. The moon shone brightly upon his face , on which
as
an expression of sadness was discernible; this soon changed to one of

haughty self-reliance and he was heard to say ,,let them write what stuff
they please about me, and call rne all the hard names they will
they can
,
no more extinguish the
light of
my
genius than
can darken that moon."
BEETHOVEN seldom allowed himself, even among
his intimate
friends,
an opinion upon his compeers in art. What he thought of the undermentioned masters shall be communicated in his own concise words.
to let fall
is
,,CHEBUBINI
me
to
Operatic Composers.
most worthy
the
of attention
Also with his conception
of the
among
Requiem
all
I
living
entirely
and should
I myself write one , I shall take

many hints from him."
von
WEBER
in
him
art could not develope
too
late
to
,,C.M.
began
learn;
itself naturally, and his visible and only aim was to be regarded as a genius*).
agree
,,MOZART'S greatest
himself a
work
is
the Zauberflb'te
German Composer.
for in that did
he
Don
first
'Juan has the complete

moreover, the divine Art ought never to have been lowered
and,
folly of so
,,
show
Italian
cut,
to the
scandalous a subject."
HANDEL
the unequalled master of
is
how, with such small means, such great
all
masters!
effects
Go home and
learn
were produced."
When during his last illness he underwent the operation of tapping , he

exclaimed ,,Belter water from the body, than water from the pen."
He received from
a Musical Society the flattering request to compose a

which the payment was accompanied with the title of
Honorary Member. BEETHOVEN accepted it, but allowed a very long time to
elapse without their hearing anything further from him. At last there reached
him couched in the most delicate possible terms a written reminder of the
Cantata for them
for
*)
Very probably
inasmuch as he
wa s
a genius
P.
17
TRAITS OF CHARACTERS AND ANECDOTES.
duty he had undertaken, signed, in consequence of the absence of the Presi-
by deputy. The
dent,
laconic reply ran as follows:
such things are not be hurried;
have not forgotten;

word.
,,I
my
manu
Signed by myself. BEETHOVEN

Alas
If
he could not keep
he did not happen
entreaties
were
word
his
him
will
keep
propria."
to feel inclined for
requisite to bring
it
himself, pressing
and repeated
Before he began to
to the pianoforte.
play he would then strike the keys with the palm of his hand, run over them
with one finger and play several

time. During a
summer
some
had the
some miles
wind, back
threat, certainly not in earnest
making BEETHOVEN escape

and from thence he posted
effect of
distance
to
foreign guests
that
he became
and obstinately refused what he considered as a service
quite angry,
exacted from him.
house
the
all
nobleman, he was to
the country seat of a
so teased to let himself be heard by

at last
laughing heartily at them
little tricks,
visit to
of
imprisonment
in the
as
the
to
town
night to a
on the wings
at
of the
Vienna. As a satisfaction for the insult, his unlucky patron's
bust was offered up a sacrifice.
The
irritated
Composer threw
it
out of
the window.'
As JOSEPH HAYDN'S
less
illness increased,
BEETHOVEN
principally from a sort of apprehension
had struck out
a path for himself
visited
him
less
because he was aware
BEETHOVEN was possessed with a singular passion

of habitation
troublesome
was he
for a constant
although the moving about with ,,bag and baggage"

to
him
and was each time attended with some
established in a
new
he
which HAYDN did not approve of. Neverin

his Telemachus
Mentor frequently enquired after

these terms ,,Well, how goes on our Great Mogul?"
theless the amiable old
and
that
dwelling
when something
loss.
change
was very
Scarcely
or another displeased
him, and he walked himself foot-sore to find another, sometimes managing

so cleverly as to have several sets of lodgings on his hands at once; in this
way as in many others, he

the whim of the moment.
,
After
spent
money
to
no purpose, merely indulging
BEETHOVEN became deaf, he spoke but little, writing down his

tablets. ,,What is ROSSINI?" was once asked of him
he
remarks on his
wrote for answer:
,,a
clever Scene-painter."
18
Alaitre de chapelle
being at Vienna, would on no
without having made the acquaintance of BEETHOVEN.
KUHLAU, the Danish

account leave the
city
Mr. HASLINGER therefore got together a
Composer had taken up
excursion to Baden
liltle
abode
at
which
summer, and Mr. SELLNER, (the Professor in the Conservatorio) Mr. CONRAD GRAF, the Court
Pianoforte-maker, and a warm friend of BEETHOVEN'S, Mr. HOLZ, were the
place the
guests honored
by an
his
for the
No sooner were
invitation.
health-giving fountain and had received the hearty
host
than was heard
short interval of repose
after
they arrived at Hygeia's
welcome
of their expectant
,
the unanimous
cry of ,,Let us go out."
Away they went, the eager host leading the way

like a bell-wether, and behind him the town-bred trio, who had some difficulty to keep pace with his walking he having formed the determination,
,
as the
all
fancy of
the
moment,
were lo be
the favorite spots
them completely out. To this end,

visited, and of course by the most intricate
to tire
like so many chamois

paths. First they clambered
up to the ruins of
Rauhenstein and Rauheneck, from the towers of which the eye, as far as it could
,
reach, wandered over the rich extent of country, spread before it like a
carpet. Then the humorous Composer, seizing with a firm hand upon
the arm of one of his companions ran at full speed down a nearly perpen,
and shouted with laughter
dicular height,
who
down
at
the droll appearance of his
him over sharp pebbles, brambles, and

briars. After overcoming so many perils, the social meal, which was
prepared in the lovely Helenenthal, made a rich compensation, and the
friends,
slipped
state of equal fatigue
after
with his guests
in
here had somewhat more than

the
work was completed by

The
its
rich
which our wanderer found
himself,
own
enjoyment. The sparkling Sillery

wonted effect, and at BEETHOVEN'S house
apparently served but to enhance his
and copious
Amphytrion was
libations
of Johannisberger
most amiable possible

temper, to which his friends responded with the warmest cordiality. KUHLAU
extemporized a Canon upon the name of BACH, and BEETHOVEN dedicated to
ot
the
the best vintage.
memory
of
inserted below.
jovial
this enjoyable
He was
in the
day the impromptu upon the same theme
some pains
to apologise, the next morning, for

which might perhaps give annoyance to his esteemed friend, and
sent him the little note which we here present to the reader, (v. p. \Q.)
at
the joke*)
Kiihl
*)
KCULAU'S
nicht
lau,
name was formed
nicht
of the
lau,
Kiihl
nicht lau, Kiihlau nicht
two words Cool-Lukewarm.
19
and
as
bassa.
loco.
Kiihl
nicht lau,
Kiihl nicht
lau,
nicht
Kiihl
lau,
that sort of stimulus rather depresses
my powers which usually respond quickly

the least recollect what I wrote yesterday.
to
now and
lau.
Baden, Sept. 3. 4825.

to my head yesterday,
have learned by experience
Think
nicht lau.
Champagne mounted
that the
then elevates
do not in
nicht
Kiihl
lau,*
m 8a
must confess
nicht
Kiihl
lau.
any demand.
then of your most devoted
BEETHOVEN, manu propria.
/~N
Many who during BEETHOVEN'S life, and even up to a much later date,
were accustomed to move in the higher circles of Vienna, will not fail to
Ambassador from the King of Saxony to the
was a friend of art and artists, and spoke
intercourse with the celebrities of his day. The worthy
recollect M. von GRIESINGEB, the
Austrian Court. M. von GRIESINGER
unreservedly of his
old
gentleman was accustomed frequently
man he had been
present
at
the
first
to recur to the fact that as a
young
of the Zauberflote
representation
(MOZART'S Opera ,,The magic Flute/')
With BEETHOVEN
also he
related the following passages

,,
had come
into contact several times
and once
Although," said the Composer,
,,the libretto of the
Freyschutz was at-
who con-
tacked by the Critics, although there were self-sufficient Musicians
sidered the music as of too popular and unlearned a character, because
was not
synonymous with
real
the Freyschutz could not be denied, and almost
WEBER
it
and obscure, which with some people are terms

depth and learning
yet the unprecedented success of
tedious, bombastic,
all
living
Composers envied
the possession of such a libretto."
The poet, FRIEDRICH KIND, inconsequence
of this success,
had re-
ceived proposals for writing several
new Operas, and completed two,
which one bore the
Miners" (Die Rutheng anger)
title
of
,,the
of
But the
poet of the Freyschutz was sharp enough to perceive that good music is
requisite before all things, to ensure the success of an Opera, and ex-
pressed
in
a conversation with
BEETHOVEN would
to
me
(at
Teplitz)
set a libretto of his to
how
glad he should be
music; but he did not
him, having heard much of B's repulsive manner.
if
like to write
undertook
to
sound
20
BEETHOVEN
for
as soon as
it
answer
him upon
was
possible
kept
if
Kind were
to look
it
is
promise. BEETHOVEN
my
much
,,Thank you, thank you very
of the libretto of the Freyschutz,

that
public, but
although
to
me
that the
both musical and picturesque;
poem I should not
Fidelio has not
My
come when
the time will
this
believe
it
peculiar element.
my
is
feel sufficient
been comprehended by the

will be prized; nevertheless,
perfectly well aware of the value of
Symphony
made me
quite sensible of the value
back once more into the archives of tradition he would
music.
to
know
am
it
am
write an excellent popular Opera; but for such a

interest to set
convenient opportunity, and
this subject, at the first
my Fidelio,
When I have
it
evident
is
music in
my
always the music of a full orchestra I can exact everything and

anything from Instrumentalists, but in vocal composition I must be perpetually asking: Will this sing? No, No, Mr. Frederick Kind must not think
head
it
is
the worse of
me
for
it,
him
shall never write another Opera."

converse about WEBER, and BEETHOVEN extolled
but
They then went on
to
much
inordinately, so
so, that
opinions which he has been
were put
made
to
but
feel
little
doubt the depreciating
express concerning
that
Composer
mouth. That he praised WEBER from motives of policy

a moment be supposed, for he never shrunk from speaking out
into his
cannot for
what he thought, with very little ceremony.

M. von GRIESINGER related further: ,,When
we were
both
still
young,
only an attache, and BEETHOVEN only a celebrated pianoforte player, but as

yet
little
known
as a
Prince LOBKOWITZ.
we happened to be together at
gentleman who thought himself a great
composer
entered into a conversation with BEETHOVEN upon a poet's

,,I
all
and
inclinations.
wish" said BEETHOVEN, with his native candour," that I was relieved from
the bargain and sale of publication
and could meet with some one who
,
could pay
to
life
the house of
connoisseur,
me
a certain income for

all
publish exclusively
tion.
believe
that
GOETHE does
London publisher held
life,
wrote
this
for
and
which he should possess the right

I would not be idle in composi-
with GOTTA
similar terms with
and
if I
mistake not , HANDEL'S
him."
man", said this grave wiseacre, ,,You must not

complain, for you are neither a GOETHE nor a HANDEL, and it is not to be
dear young
,,My
expected that you ever will be, for such masters will not be born again."
BECTHOVEN
and
bit his lips,
said not another
pretty
word
gave a most contemptuous glance at the speaker,

him. Afterwards however he expressed himself
to
warmly upon the insolence
of this flippant individual.
Prince LOBKOWITZ endeavored to

of thought,
pened
to
and said
draw BEETHOVEN
into temperate
turn upon this
modes
manner, when the conversation once happerson, ,,My dear BEETHOVEN the gentleman did
in a friendly

not intend to
here to
wound you;
an established maxim, which most men adproduce such mighty
is
it
Jil
that the present generation cannot possibly
spirits as the
,,So
men who
dead who have already earned their fame."

the worse
your Highness," replied BEETHOVEN,
much
will not believe
universal fame
and
trust in
me
because
am
as yet
with /
,,but
unknown
to
cannot hold intercourse."
Many then shook
'their
heads
and called the young Composer arrogant
and overbearing. Had these gentry been able to look into the future, they
would have been a little ashamed of themselves.
of
Dr. ALFRED JULIUS BECHER*) related the following anecdote, for the truth
which he was ready to vouch.
BEETHOVEN had received the most flattering proofs of distinction from
the golden Lamb

he found himself one day in an hotel
at
musical
men
in
a
and
and
several
observed
talking
Vienna,
literary
very
animated manner together. He asked what was going on?
England
,,
These gentlemen maintain
pose, nor
to estimate
that the English neither
good music," replied Mayseder,
know how
,,but
am
to
com-
of another
opinion."
BEETHOVEN answered
compositions of
muneration
for
mine
them
sarcastically
,,The English have bespoken several
and have sent me handsome reGermans with the exception of the Viennese are
appreciate me, and the French find my music beyond
for their Concerts**)
the
only
now
their
powers of performance Accordingly,
lish
beginning
to
it is
know
nothing about music!
and the dispute came
to
Is
it
as clear as day, that the
not so? Ha ha!" He laughed heartily,
an end.
BEETHOVEN was
in the strongest sense of the word, a German

body
Though quite at home in the Latin, French and Italian tongues,
he preferred to make use wherever it was possible , of his natural idiom.
and
soul.
own way
all his works would have been published

with German title-pages. Even the exotic little word pianoforte did he
seek to expunge, substituting the peculiar term ,, Hammer-Harpsichord"***)
as a far better adapted expression. As a recreation after hard labour, he pre-
Could he have had his
ferred, next to his beloved poetry, the study of general history.
Poets of
*)
Germany GOETHE was
One
of the
members
his favorite;
of the
,,
Amongst the
he was fond of Walter
Scott.
Beethoven Dervishes" a name assumed by a

he was a very able critic.
Musical Society in Vienna about the period \ 838 to 1848

**) The Philharmonic Society in London.
***) See the Pianiste's Musical Museum.
Tobias Haslinger's edition, Vienna.
1.
Eng- ^V
part: BEETHOVEN'S Sonata No. <(M.
22
Of the
rest of the fine arts
and
of the
Sciences , he possessed
without
priding himself upon it, more than a merely superficial knowledge. In the
circle of his intimates he spoke out freely upon politics , and with such
commanding, well-directed, and perspicuous views, as one would scarcely

have expected from a recluse living only for and in the interests of his Art.
Rectitude of principle, high morality, propriety of feeling, and pure natural
religion
were
These
his distinctions.
virtues- reigned within himself,
and he
required them at the hands of others. ,,As good as his word" was his favorite saying, and nothing angered him more than a broken promise. He was
always ready, out of
warm
benevolence, to help others, and that often
at the
expense of serious sacrifices in his own person. Whoever turned to him

voluntarily, and in perfect confidence, might safely reckon upon him for
aid. He knew neither avarice nor extravagance, and was but liltle acquainted
with the real value of money, which he used only as a means for procuring
the indispensable requirements of
signs of an anxious parsimony
life;
it
was only
in
his later years thai
became apparent, without however
echoing the praise and admiration of the gifted

capable of honoring, to
its
full
artist,
interfe-
world was
fering with his natural bias for benevolent actions. Whilst half a
only a few were
worth as a man. And why?

themselves repulsed by the rough shell, and
extent,
his
because the greater number felt

could not perceive the soundness of the kernel within. BEETHOVEN might,
however, have cheered his melancholy existence by marriage, had he not, as
it
seems, indulged in more than one'illplaced platonic attachment; the result
was, as usual, disappointment, and this added strength to his constitutional

misanthropy. He occasionally behaved to visitors and patrons with a degree
of studied- rudeness
which had the appearance of acting a part indeed he

,, trample
upon mankind and they will
;
well knew. the truth of the proverb:
fawn upon you." He was a proud man, and evidently agreed with his favourite poet GOETHE in belief of the adage ,,trust yourself, and others will
trust
you."
His extreme sensitiveness on
frequently caused
suddenly
left
him
some
to neglect the
points degenerated into caprice, and
commonest
rules of courtesy; e. g. he
who had invited him

months, because, as he said, ,,the Baron annoyed
excessive politeness, and he could not bear to be asked every
the country-house of the Baron v.
to stay there for several
him with
his
morning, if he were quite well!"

But his friends pardoned all such
nius and his many sterling qualities.
eccentricities for the sake of his ge-
THE WILL OF LUDWIG VAN BEETHOVEN,

translated from the Original.
(The legacies here mentioned were revoked by a
For
my
Brothers CARL and
codicil.)
BEETHOVEN.
ye who have long regarded me as morose, obdurate and misanthropical,

You know not the hidden causes that
greatly have you wronged me
how
produced the effects which you misconstrue. From my childhood upwards,

my heart and mind have been open to the instincts of benevolence, and
I have ever felt the longing to
perform great actions but you must reflect
;
that
have for
six
years been afflicted with a malady which
aggravated by
has year after year disappointed my hopes of
relief
and has at length grown into an evil the cure of which may require
and
years,
perhaps may never be effected at all. Born with a vivacious and
want
of
skill in
my
physicians
ardent temperament, and alive to

in the
prime of
Occasionally,
life, to shut
when
bitter experience of
the attractions of society,
was
forced,
myself out from the world, and live in solitude.
try to brave
my
all
my
and go
fate,
increasing deafness
am
into
company, by what a
driven back again
How
can
louder yet
for
am deaf." Alas! how
say to people ,,Speak louder
could I avow the total loss of a sense expected to be more perfect in me
I
than in others, and which I once did possess in a degree of perfection enjoyed by very few? I could not do it. Therefore you must pardon me when
you see me shrink from those scenes which I would most willingly enter. My
misfortune grieves
me
doubly, inasmuch as
it
my
subjects
actions to misin-
its mutual
To me the charming recreations of society
are all
the free intercourse with refined natures
outpourings of mind
forbidden alone, and venturing among my fellow creatures no more than is
terpretation.
absolutely necessary,
live like
an outcast, for
only to suffer the intensest anxiety

During my late residence in the country,
it is
to spare the injured
with such advice

times to be
drawn
organ as
much
although, tempted
into society.
if I
lest I
my
by
my
condition.
excellent physician advised
as possible
inclination
Judge then of
do venture into the world,
should betray
my
and
,
me
desired to comply
suffered myself several
humiliation
when
found
THE WILL OF LUDW1G VAN BEETHOVEN.
24
a person near
not hear! such moments almost
could
song of a shepherd boy
drove me to despair little was wanting to make
,
\vhich
me
own
she alone
hand. Art
impossible to quit this world before

I
this
unhappy
seemed
all
my
me
felt
which
of
life
to
truly deploring
a mournful hope of clinging to her
recover
shall
had accomplished
preserved
with
to life
it
which any sudden impulse could reduce from extacy

as it is called
her I must take for my guide with
that sensitive frame,

to despair. Patience
put an end
me back
she held
myself capable, and therefore
haps
or the
listening to the distant notes of a flute,
me, perhaps,
the Fates cut
till
perhaps not
thread of
my
resolved in
Per-
life.
my
twenty eighth
so for an artist than
year, to become a philosopher; it is not easy, and less

Eternal Being Thon seest my heart and knowest
for almost any one else.
!
its
thou knowest that
inmost recesses
mankind! Oh
for all
my
it
when you
friends,
cherishes love and benevolence

shall read this, consider that
you
have greatly wronged me, and if there be one unhappy among you let him
be comforted by the reflection that there was another like him, who, in spite
of obstacles thrown in his way by nature, did all that in him lay to gain a
,
place
distinguished artists and great men.
among
Charles and ... to request Professor Schmidt in

living, to describe
malady, and adding
my
the world at least be reconciled to
my
joint heirs of
small property
(if
such
between you, and bear with and

have
suffered at
You, Charles,
shewn
me
this
intreat
my name,
paper
after death.
it
assist
can be
my
you,
brothers
he be
if
to its history,
also here declare
called).
one another.
Share
it
still
to
let
you
honestly
Whatever wrong
your hands, has/ you know, been long since forgiven.

thank most especially for the attachment you have lately
I trust
you will lead a better life and one more free from
have done. Bring up your children in virtue that alone and
not wealth can make us happy. I speak from experience when I say that
me;
to
care than
virtue lifted
that
I
me
did not
bequeath
Schmidt.
out of misery , and , next to
end
my
wish
life
by
my
art
have
to
love each other.
thank virtue
To
especially
Prince
to
undivided, by one of you, but not to become the cause of any

however they can serve you to any useful purpose, sell them
like to
be of service
to
you even
hasten gladly towards death;

full
opportunity to develope
soon
in spite of
blest will
when
friends
all
Lichnowsky and Professor

Prince Lichnowsky's instruments should be retained,
thanks,
that
suicide. Farewell!
my
hard
in
my
my
artist-powers,
fate
and wish
be the hour of release from
thou wilt, oh death,
grave. All
shall
meet
is
me
should he reach
I
now
little
set in order
delay
how
Come
but yet
stale of constant suffering

th.ee
should
have enjoyed
think he comes too
before
shall
for a
if
strife;
courageously! Farewell, and
25
LETTERS.
not entirely forget in death him
often thought of
you and
tried to
who deserves to be remembered, for I have

make you happy may you ever be so
!
Heiligenstadt, Oct. 6. 4802.
Ludwig van BEETHOVEN m.

,
p.
(L. S.)
'
one. Yes
2
e
u<
Thus do
P. S.
<o
'
my
take
leave of you, and a mournful
of being at least partially cured;

_;
"S
^.5
me
brought with
me
forsake
as
from the trees, so have they
aulumn fade and
fall
fallen
return nearly as
came. Even the lightheartedness

summer days has va-
away.
is
long
it,
when
H 2
to
me
with the beauty of the
Providence
nished.
0*2
they
that
now
the leaves of
which came
ra
must now abandon Ihe hopes
vouchsafe
me one
bright day of joy
long,
since the deepfelt echo of real joy has reached me.
when, Eternal Being,
nature and of Humanity
shall
feel
never? no
it
it is
again in the temple

too cruel
LETTERS
written alternately to Mr. S. A. STEIKER, and his partner TOBIAS HASLIIS-GEH.
No.
*.
Well-born and worthy of high admiration G
t.
*)
We
beg of you to change the 24 Ducats in gold according to yesterday's

account received, and to send it to us either this, or tomorrow evening, when
we
will transmit
very
as
and deliver the 24 Ducats
agreeable to
want much
me
to
at the
same
time.
your well-deserving Adjutant were

speak to him. He must forget all grudge
if
to
,
It
would be
bring
it
to
me,
like a Christian
we
acknowledge his services, and do not acknowledge that which he does

not deserve. The long and the short of it is we wish to see him.
This evening would be the most convenient to us. We are, most excel,
lent
t,
your most devoted
s.
*) It is necessary to explain that BEETHOVEN styled himself playfully Generalisand his partner at that
simus (G
a
s) Herr STEINEK, General Lieutenant (G
t)
time, Herr TOBIAS HASLINGER, General Adjutant (Ad
rl). The place of business was
called the
war
Beethoven
office.
Slurlie*.
23
26
LETTERS.
No. 2.
To
the high
and well-born G
II
STKINBR, for
hisown hands.
Notice.
We
have upon our own examination, and the hearing of our council,
determined and resolved, from henceforth on all our works with German titles
to substitute the word Hammer-Clavier (Hammer-harpsichord) for Pianoforte,
and we charge our worthy Lieutenant General and Adjutants assembled,
as well as all others whom it may concern to carry out and put into execu,
tion that
which
is
here once for
decided. Given etc. etc.
all
from Head Quarters,
Jan. 23. 1817.
m. p.
No. 3.
Please
the Dedication stand thus
let
Sonata
or
for the
Pianoforte
Hammer- Harpsichord,
composed and
dedicated to the Baroness DOROTHEA ERTMANN, nee GRAUMANN,

by
LUDWIG VAN BEETHOVEN.

For the
new
proposals
Sonatas the
namely
reserved for a
II
new
it
in a language
which
man
due
Sonata by
(gaudeat pleno
order to bring
must be ready
title
either I myself will
tituloj
me
is it
for
into the light of day.

is
well understood.
without doubt the invention
How
and the
then that
is
so
make
the following
,
first
title
State-Councillor must open, in
should, above
Hammer -
also
Clavier
German
is
things, be
all
thorough Ger-
honor where honor
get no notice of the execution of the same?

As ever, you servant,
Amicus
ad amicum
I
beg you
tire silence
will observe the
most en-
as to the dedication, that
may make
a sensation
with
two
pay for a new title or it shall be

which the long purse of our trusty
de amico
tremolo
it.
Ad
ju
tant
is
37
LETTERS.
No.
We
you kindly to send us two copies of the score of the

also wish to know when we can have a copy of the
Baroness von ERTMANN, as she leaves this, at farthest, the day
shall thank
Symphony
in
Sonata for the

after
4.
we
tomorrow.
No. 3. namely a note, herewith enclosed, is from a musical friend in

Silesia, who however is not rich, and has therefore copied music for me; he
wishes
to
have these works of MOZART in his library, but as
servant has
my
received from heaven the priviledge of being Ihe greatest ass in the world
(which is saying a great deal) , I cannot make any use of him in this matter.
Be therefore so good as to send to Mr. ****(the G

an agreement with a small shopkeeper) and let
cannot enter into such
me know how much
sending me this together with my two scores in A, and an

questions about the ERTMANN, today at the soonest (presto pres-
they will cost,

answer
to
tissimo}.
is
my
Pray spare
me
as
much
trouble as
be, for
may
my
health, just
now,
none of the strongest.

L.
VAN BEETHOVEN m.
The best possible fellow
for the
the Devil himself for
No.
The G
t is
requested
opinion regarding the
must be very much
to
p.
Good.
the Bad.
5.
send his familiar,
to
whom
may
state
my
Battle translated into real Turkish --
it
altered.
G
No.
s.
6.
To Steiner and Co.
The G
young
that
11
t of the
Company has promised every assistance to the
BOOKLET from Prague, who is a flrstrate violinist. We hope
introduction will be respected, as we are with the wildest
Artist
our
Your's
devotion,
s.
No. 7.
To Mr. Tobias Haslinger.

Adjutant,
Look
me
the
after the little
My
dear Mannikin!
house once more, and
Treatise on Education.
am
beg you earnestly
to
lend
very desirous of being able to
23*
28
LETTERS.
upon that subject to others, and

Wilh
regard to the Adjutant I have (I
comprehended.
my
explain
ideas
to
make myself
clearly
believe) taken the right
course in his education.

Your's
Contra Fa.
m. p.
No. 8.
For the well-born Mr. Haslinger,
member
extraordinary of the courts of Graben and

Paternoster Row.*)
Very dear Printer and Engraver,

Be
plate
me
to
the kindest of the kind, and let a hundred copies of this
be struck
off.
will
repay you double and three-fold for
all
little
printing
and engraving.
Farewell
Your's
BEETHOVEN
No.
To
My
9.
the Editor. **)
dear and worthy Brother in Apollo
work and
;
hope you
will
in a condition to serve
committee
order
p.
hearty thanks for the trouble you have given yourself about
My
humane
known.
in.
is
you wilh
my
small
means
of so doing.
without doubt sufficiently informed of
to testify this afresh
we
am
The
excellent
good wishes. But in

friends in what manner
my
will consult together as
they can best be served. When a patron

our progress is never likely to halt.
I
my
am
very glad that its success should be generally

never forget me if ever it should so happen that I am
like yourself lakes
an interest in us,
wilh the sincerest respect, your friend
BEETHOVEN m. p.
*) The shop of Steiner and Co. was situated in a street called Paternoster Row,
near the square called ,,the Graben."
**) This was occasioned by my having given his grand festival-overture at a
concert for the benefit of the city -hospital, and for which he received the written
thanks of the Society and of the Committee of management.
(Seyfried.)
29
LETTERS.
No. 10.
To
the most celebrated musical firm in
May
who wish
ofrfrese
Europe, Steiner and Co. Paternoster Row.
beg from the GEH' BAUER*) a few
to
go
to this
same cards
music-meeting
of admission
if
so
tickets for
some
of
my
friends
you have perhaps yourselves some

lend me one or two
Your
Amicus
The part belongs to the chorus

in which BAUER is one of the singers.
BEETHOVEN
m. p.
No.
To Mr. Haslinger, Adjutant
May
will return
beg
it
good enough
book.
upon
am
Ad
of the
rl to
lend
me
as soon as the performance

to lend
etc. etc.
the score of the Overture in

is
over.
must beg you
also to
be
meKiRNBERGER, in order to supply the place of my own

some one in Counterpoint, and my own manuscript
instructing
this subject**)
am
totally
unable
to find just
now, among my wilder-
ness of papers.
I
am
yours
Mi
contra Fa.
m. p.
No. 12.
To Tobias Adjutant.
My
I
dear Adjutant!
have made a bet of ten
florins that
it is
not true that you have been
A
am sure they must
know the exact truth
obliged to pay two thousand florins as a compensation to

of the edition of the
printed over and over again.
works
I
wish
to
for
on account
sell
I
though
cannot be,
it
possible. If it be the case, however, that this injustice has been done
you, then ,,0h dolce contento" must pay down ten florins.
lieve
Yours
BEETHOVEN
m. p.
*}
**)
which will not bear translation.

4fP' a y on the name GEBAUER
The original Mss. of the work here given to the Public.
3O
WRITTEN DIALOGUES.
WRITTEN DIALOGUES *).

I have
a white -washed room in my
Qu. Give me your advice
house and some old tapestry with which I wish to hang it
painting is
,
now
out of date, and costs too
An. Painting
become
with drawers
is
is less
of soft or hard
When
will
the price of a large writing-table
An. They are readily

from 80 to 120 florins.
Qu.
where can
I find a person to hang

be the expense?
oldfashioned and cheaps enough; your tapestry will
a resort for spiders
Qu. What
much
one room) and what
this tapestry (in
to
such as are
now made,
wood ?
be had
of nut or cherry
me
can the Adjutant-general go with
wood
costing about
to look at,
and pur-
chase one?
An. Tomorrow, after dinner.
Qu. Has nothing been heard from M'alzel?

An. Nothing but the arrival of two boxes of Metronomes.
Qu. Indeed? the newspapers will very soon trumpet that forth for the
ha ha ha !)
general edification. (Ha
Qu. Can't you recommend

fits
me
sack
like a
An.
will
me
a tailor? Mine
look exactly as
send Mr. N.
to
if I
is
had stolen
you who works

,
for
it
a fool. This frock-coat

!
me.
Qu. Does he call himself an Artist in clothes?

An. No he remains true to the honest old German name for his
;
craft.
Qu. Does he produce strong and firm work?

An. I have no doubt of it.
Qu. My stupid hero of the goose cannot sew on even buttons properly.
have worn this jacket barely half a year , and five are already absent with-
out leave.
An.
*)
hope
When
my
employe
will
be able
to please you.
BEETHOVEN entered a music-shop
a sheet of paper
and a pencil were
placed before him. He wrote down what he wished to know and the answers were
written under his questions. From amongst these very droll silent t6te a teHes, a
selected as an original example of a new species of
specimen is inserted here
,
correspondence.
WRITTEN DIALOGUES.
Qu.
is
Is
it
true that
WEBER
51
the Director of the Conservatorio at Prague,
arrived here with PIXIS?
An. Yes
Qu.
and both of them wish
It is
not necessary
it
to
be allowed
would be
difficult
to visit
to
you.
manage.
fancy
they are really learned?
An.
It
Qu.
It
seems so, according to all accounts.

may well be believed. The Bohemian
is
a musician
born
It
is
What have Ihey to show for all their renowned

very
Conservatories ? If fortune had not endowed their idol ROSSINI with a pretty
what he
talent, and showered down love-sick melodies upon him by scores
different with the Italians.
brought away with him from school would not have been enough
stomach in potatoes. (Ha ha ha ha !)
!
to find his
Qu. Why had I not the proofs of the Trio yesterday?

An. Because they are not yet ready.
Qu. Why are they not ready?
An. Because the Engraver was prevented from finishing them.
Qu. Why was he prevented?
we were
An. Because
obliged
employ him upon anolher pres-
to
sing work.
Qu.
were you obliged
Why
An. Because
to
to
employ him upon anything else?
because
because
we
have occasion for money.
Qu. Money? Money? So have I occasion for money, and when I come
you for it you never have any for me.
Money? Don't you earn any by
my
labours ?
An.
them, or
yes
we
otherwise
make
should not be so desirous of possessing

which we do for the copyrights. In
the important sacrifices
the meanwhile have patience only for a few days

last
proof, and
we
have
will also
handsome
you
shall
then receive the
title-page prepared.
Qu. Title-page? a handsome title-page? if the contents are worth nothing, I would not give a rush for the most beautiful title-page in the world.
Have you any fresh Leipsic newspapers for me ?

An. None but the one which we have already sent you
,
Qu. So?
LITZ laid
down
But
don't
why
It is
not yet
come
the baton of
1
to
hand.
command
N'imporia
I find
see any customers here today
An. Because the gay world

the Carnival, than to
spend
it
in
likes better to
buying music.
little
in
niente.
them
to
last
week's.
Since ROCHinterest
me.
lounge away the morning
at
JUDICIAL 1NVENTARY
32
AND VALUATION
Qu. In buying Music? ,,there's the rub!" why do you sell anything but trashy music? Why have you not long ago followed my wellintended advice? Be for once prudent, and come to reason. Get rid of your
let that heavy article of
hundred weight of reams of paper real Ratisbon
,
sale float
you
down
Danube, and set up a sort of grocer's business, where

and drink at a cheap rate. Invite Ihe hungry and thirsty
the
retail victuals
with a placard in letters of a yard long over your door, ,,Musical Beer
shop!" and you will have so many customers at all hours of the day, that
there will be a regular crush to get in, and your rooms will never be empty.
(Ha! ha! ha! ha!)
JUDICIAL INVENTARY
AND VALUATION,
(dated i6. August <827)

of the
Music and Books

spot, as
Schwarzspanier - house in the suburbs taken on the

and bequeathed by the deceased Composer
in the
left
LUDWIG VAN BEETHOVEN.
Present:
BRANDSTAETTER (Ferdinand) Secretary of the Magistrates.
VON ORTOWITZ (Francis) Commissary of Police.
OHMEYER
as deputy for Dr.
HOTSCHEVAR
BACH
Trustee.
(Jacob) Guardian of public Archives.
Strangers,
present by special invitation:
CZERNY
(Charles)
Composer and chosen witness.
PIRINGER (Ferdinand) k. k. Registrar, Director, clerk of the Exchequer.

HASLINGER (Tobias) Licensed Artist and Music-Seller.
and the two Treasurers:

ARTARIA (Dominik) Licensed Engraver and Music-Seller.
SAVER (Ignatius).
I.
50 books of manuscript music, sketches etc. Text of Fidelio.
JUDICIAL INVENTARY
35
AND VALUATION.
Sketches for use, Fragments
etc.
incomplete works, not yet printed, and autograph.
No.
52.
53.
Quartett Sketches.
Sketches.
55.
Quartelt Sketches.
Pieces and Sketches.
56.
Complete Sketches.
54.
Quartett Sketches.
Ital. Ariettes.
59.
Sketch for a Quartelt.

Sketches for use.
62.
Copy
Copy
of the Trio
No.
Sketches for Masses.
64.
Quart. Sketches and Small
"
65.
Sketch
for
//
66.
Bagatelles.
67.
Song with Orchestral Accompts.
1.
of the Trio No. 2.
//
68.
Song.
69.
Sestett.
70.
Original Songs.
3.
Autograph Manuscripts of printed and well known works.

No.
71.
Sonata for the Pianoforte.
72.
MS. (published by Sim-
73.
Trios
74.
Song. (To Hope.)
the Pianoforte.
Op. 70. No.
arid 2.
The
75.
Song
76.
Scotch Songs.
77.
Quartett
78.
Nightingale.
pub. by Schott.
//
79.
80.
Finale to the Pastoral
Sym-
phony.
81
First
movement
phony No.
82.
of
Sym-
4.
Piece from
the Opera
of
Fidelio.
83.
Evening-Song.
84.
85.
Fantasia-Sonata.
86.
Sonata for the Pianoforte
87.
Kyrie from the 1. Mass.

March from Fidelio.
Fugue
and
88.
89.
in four parts.
Violin.
Concerto in
for the Pia-
noforte.
90.
JNO.
rock.)
for
Pianoforte
Concerto.
57.
61.
63.
pieces.
58.
60.
No.
Variations for the Pianof.
54
JUDICIAL INVENTARY
AND VALUATION.
115.
Concerto for Pianof. in C.
No.
135.
Sonatas for Pianoforte.
116.
Concerto in
'/
136.
Sonatas for Pianoforte and
"
117.
Fragment of
118.
Finale for a Quartett.
137.
119.
Quartelt.
i'
138.
Entr'act to Egmont.
Sonata for Pianoforte and
ii
120.
Sonata for Pianoforte.
121.
Variations for Pianoforte.
//
139.
Quintett in E.
122.
Septett in parts.
140.
123.
Quartett.
No.
//
for Pianof.
Velio.
124.
Sonala for Pianoforte.
125.
Concerto No.
"
126.
Mass. No. 2. in parts.
127.
Quartelt.
128.
Song
129.
Finale to Leonore.
"
Sonata for Pianoforte and

Violin.
"
Violin.
a Quartett.
2. for Pianof.
141.
Sonata for Pianoforte.
"
142.
The Song
of the quail.
"
143.
Chorus,
Good news."
By another hand
to Chloe. (Lied.)
,,
(not autograph.)
N<fc
144.
Sinfonia Eroica.
130.
Quartetts.
'/
145.
Overture to Egmonl.
131.
2 Songs.
146.
132.
Agnus
Songs
Sones
147.
Chorus from ,,the Ruins

of Athens."
March from Tarpeia.
148.
Fantasia and Chorus.
,i
133.
"
134.
Dei.
fr.
Gellert.
fr.
Goethe.
Ljeder
4.
Original Manuscripts
chiefly
completed and autograph,
not printed
and as yet unknown,
by LIJDWIG VAN BEETHOVEN.

No.
149.
Treatise
on Counterpoint
No.
160.
"
150.
Fragments of Trio
for Pia-
noforte.
5 large packets*}.
Song with Orchestral Ac-
161.
Cadenza
for
a Pianoforte
Concerto.
compts.
March for military band.

2 Songs. (Lieder.)
The Ruins of Athens.
"
162.
152.
Violin-Quinlett.
'/
163.
153.
The
"
164.
"
154.
Ital.
if
165.
Sketch for a Quartett.
"
155.
Canon and
"
166.
"
156.
/>
157.
Songs. (Lieder.)
Piece for Pianoforte
"
151
Italian
Songs.
first kiss.
Duett.
posed
in his
part Song.
com-
158.
Songs and compositions

the Church.
159.
MililarV music,
for
Scenas and Arie.
169.
(Ital.)
"
170.
King Stephan (Overture).

Collection of Compositions
'/
171.
(unknown).
Fugue for a Pianof. Cone.
Bought by Mr. HASLINGER and entrusted

translated in this volume, fc*.
Vocal Music.
168.
fragmen-
tary.
*)
167.
youth.
"
SETFRIED
Compositions for Pianof.
2 Viol. 2 Velio.
for publication
to the Chevalier
von
JUDICIAL INVENTARY
1
72.
173.
No.
Compositions for Pianof.
Fragment of a Quintett for

Viol, dato Nov. \ 826. Beethoven's last work.
474.
Canon
475.
Trifles.
176.
Trifles for Pianoforte.
477.
Rondo
for four voices.
Minuets for an Orchestra.
Composition for a Violin-
//
483.
Song. (Lied.)
"
184.
Pianoforte lesson with Ac-
it
485.
Caprice for Pianoforte.
"
486.
"
487.
,,Sehnsucht." (a Song.)
Aria with Pf. Accompts.
"
488.
Song with
//
489.
Symphony by Haydn.
compts.
for Pianoforte
478.
Marches
479.
Trio for
80.
481.
482.
Concerto.
and
Orchestra.
AND VALUATION.
for an Orchestra.
Pf. Fl.
and Fag.
full
Accompts.
Orches. piece with Chorus.
5.
Parts Co pied.
No.
490.
Symphony No.
"
491.
Christ on
492.
9.
mount
the
of
Olives-
Symphony No.
495.
Overture to Leonore.
"
196.
Festival Overture.
"
197.
498.
Masses.
199.
Dances and Marches.
7.
"
"
493.
Song
"
194.
Wellington's Victory at Vit-
(Lied) to Joy.
toria,
No.
Symphonies.
Symph.
Copied Music
by different Masters.
No.
209.
Symphony
210.
Cherubini'sFaniska, Score.
in B.
No.
200.
Madrigals of Lughini.
//
201.
"
202.
Paer's Leonore. Score.
211.
21 different Pieces.
/'
203.
Violin-Quartett.
212.
Beethoven's Fidelio.
204.
Reuter's Parnassus.
243.
205.
214.
An Overture by Haydn.
Concerto in C mil cor-
245.
15 different pieces.
216.
Mozart'sZauberflote, Score.
"
8 different pieces.
>
206.
42
207.
208.
Bach's Art of Fugue.

rections.
,/
6.
Printed Music.
No.
217.
Beethoven's
,,Vittoria"
No.
221.
Score.
218.
Beethoven's
zart's
,,Vittoria"
Score.
"
Handel's Messiah and
249.
Beethoven's Mass.
220.
8 different pieces.
Requiem
Mo-
in Score.
Beethoven's Christus.
-/
222.
it
223.
"
224.
Haydn's Creation.
"
226.
Beethoven's Fidelio,
//
Symph. 4,2.
P. Tr.
56
No.
OFFICIAL
227.
228.
229.
ANNOUNCEMENT.
Don Juan, Score.

Mozart's Cosi fan tutte.
Beethoven's ,,Christus,"
Mozart's
Score. Reicha's 36 Fugues,

Cherubini's Medea.
230.
Mozart's Titus
231.
Haydn's Seasons,
Salieri's
232.
Score.
Score.
Danaides.
The mount of Olives. (EngMozart's Quartelts.
lish).
Mehul's Valentine
233.
Score.
Beethoven's Leonore. P. F.
Score.
Beethoven's Christus.
234.
No.
247.
248.
249.
Beethoven's Choral Symph.

Symphony No. 9. Score.
No.
57
AGREEMENT.
the
No.
morning and afternoon, in the vegetable-market

H49 second floor, left-hand staircase.
7.
Vienna, Sept.
sale
the
(After
of this city, at the
1827.
of these
effects
,,The original documents from

lie
signed
which these papers and
ready for inspection at Mr. Haslinger's residence,
a complete
list
and
of those to
is
prepared
whom
letters are
who
to
prin-
possesses also
was con-
the property sold at the auction
give answers
to
was issued by
made public.)
the following advertisement
Mr. Haslinger. The valuation does not seem to have been
ted
house
any verbal enquiries on the
subject."
AGREEMENT.
(Stamped.)
The
daily proofs
which LUDWIG VAN BEETHOVEN gives of
extraordi-
his
nary talent and genius as an Artist and Composer, excite the desire that he
should fulfil the great expectations which the present experience of his
powers would seem to warrant.

As, however, we are well aware that no one can effectually devote
himself to Art, or produce works of importance, who is not comparatively
we the undersigned have come
free from care and secured from indigence
;
resolution of placing
to the
poverty
To
in
such a position that
or interfere with his powerful genius.
shall not
this
Ludwig van Beethoven
cramp
end we bind ourselves
to
pay him annually the sum of four
thousand florins:*) as below. Signed

His Imperial Highness the Archduke RUDOLPH
His Grace Prince FERDINAND KINSKY
Total
in proportion to the
,,
700
,,
1800
which pension Ludwig van Beethoven
is to receive in half-yearly
sum given by each
1500
fl.
His Grace Prince LOBKOWITZ
4000,
payments,
of the high contracting parties.
The Undersigned are also prepared to continue this annuity until Ludwig
van Beethoven shall have obtained an appointment which shall secure to him
an equivalent
*)
for the
About 160
was equal
to
300
above-named sum.
which
in
in
proportion to the then cheap rate of living at Vienna
England.
38
BAPTISMAL REGISTRY.
Should no such appointment be offered, and should Ludwig van Beethoven

be incapacitated through misfortune or old age from pursuing his art the
,
contracting parties are willing to pay this annuity during his
life.
On
his
Ludwig van Beethoven promises to fix his residence in Vienna, where

or in some other city
the high contracting parties to this document reside
part
within the dominions of his Imperial Majesty, and to leave this residence only
at
such periods as business, or the interests of his
which absences, however, the high contracting

to which they shall previously agree.
Given
at
Vienna
1.
art shall require
parties shall
it;
of
be informed, and
March J809.
RUDOLPH,
(L. S.)
Archduke.
PRINCE VON LOBKOWITZ,
(L. S.)
Duke
of Raudnitz.
FERDINAND, PRINCE KINSKY.
(L. S.)
BAPTISMAL REGISTRY.
Government
District of Cologne.
Bonn.
Circle
of
Head-Burgomaster's office, Bonn.
(Stamped.)
Extract from the Parish Register of St. Remy in Bonn. Witnessed before the Head(Stamped.)
Burgomaster of Bonn.
bris
Anno Millesimo Septingentesimo Septuagesimo, die decima septima Decemet Helenae Kebaptizatus est Ludovicus Domini Joannis van Beethoven
,
verichs
conjugum
et Gertrudis Miillers
filius
,
legitimus
dicta
2.
Patrini
Dominus Ludovicus van Beethoven,
Baums.
A
Bonn,
correct copy.
of July 1827.
Head-Burgomaster,
(L. S.)
WINDECK.
The above signature of Mr. WINDECK, Head-Burgomaster

seen and witnessed by us.
Cologne,
5.
in
Bonn
was
July 1827.
President of the Court of Justice.
For the same
President of the Council,

(L. S.)
PELTZER.
Secretary
to the
Court of Justice,
THCRN.
39
THE FUNERAL.
The signature, on the other
side, of Mr. Peltzer, President of the Council
of his Prussian Majesty's Court of Justice
Cologne,
5. July
is
avouched.
1827.
First President of the
Senate of the
Rhenish Court of Appeal
Coun-
cillor of Justice.
Signature
(L. S.)
(wholly
illegible).
Chief Secretary,
J.
THERRER.
THE FUNERAL.
With an account
(This
of the compositions performed on that occasion.
inserted here because several of the public papers contained erroneous and
imperfect statements of the ceremony.)
is
As the public funeral of BEETHOVEN had been made very generally

to his friends and admirers, who sent out numerous printed cards
known
March 1827, an immense assem-
of invitation for the afternoon of the 29. of
blage of spectators and mourners gathered at the house of the deceased, on

the ramparts beyond the Schottenthor gate at the Schwar.zspanier-house the
mourners were dressed in black, wearing mourning-gloves, and crape on the
;
left
arm. At three clock the Body was borne into the court by eight members
of the orchestra of the Court-Theatre, Mess. EICHBERGER, SCHUSTER, CRAMOLINI,
AD. MUELLER, HOFMANN, RUPPRECHT, VORSCHITZKY, and ANT. WRANITZKV,
who
had offered themselves as Bearers. The Clergy made their appearance half an
hour later, and after they had prayed over the mortal remains the Vocalists
,
above-named sang a sacred chorale by

then
moved forward
\.
order
in the following
The Cross-Bearer.
2.
Messrs.
WEIDL and TUSCHKY.
whose
direction
4.
B. A.
WEBER
the
whole procession
Four Trombone-players, the brothers BOECK,

3. The Chorus Master M. ASSMAYER, under
a Chorus consisting of Messrs. TIETZE, SCHMTZER,
GROSS, SYKORA, FRUEHWALD, GEISSLER, RATHMAYER, KOKREMENT, FUCHS, NEJEBSE,
ZIEGLER, PERSCHL, LEIDL, WEINKOPF, PFEIFFER, and SEIPELT, performed the
,,Miserere"
alternately with the four trombones.
This moving orchestra

6.
was immediately followed by:
the richly ornamented coffin
5.
the Clergy.
borne by the gentleman of the Opera
THE FUNERAL.
40
named, and surrounded by
the Chapel-Masters EYBLER, HUMMEL,

the
on
and
KREUTZER,
right; WEIGL, GYROWETZ, GAENSBACHER, and
SEYFRIED,
WUERFEL on the left who wore knots of white ribbon suspended from their
already
from the extreme

7. On both sides of the procession
mourning scarfs.
end of it as far back as the coffin, were 36 Torchbearers selected from
amongst the friends of art, poets, authors, composers, actors, and musicians,
,
numbering among them Messrs. ANSCHUETZ
BERNARD
Jos. BOEIIM
CASTELLI,
CHAS. CZERNY, SIGR. DAVID, GRILLPARZER, CONR. GRAF, GRUENBAUM, HASLINGER,
HlLDEBRAND, HoLZ , KATTER, KfiALL SlGR. L.ABLACHE BarOn LANNOY, LlNKE,

MAYSEDER, M. MERIC, MERK, MECHETTI, MEIER, SIGR. PACCIM, PIRINGER, RA,
DICCHI, RAIMUND, RIOTTE,
SCHOBERLECHNER, SCHUBERT, SCHICKH, SCHMIDL, STREI-
CHER, SCHUPPANZIGH, SrEINER, WEIDBIANN,
WOLFMAYER
etc. etc., all in
mOUr-
ning dresses with white roses and branches of lilies passed through the
crape on their left arms , and carrying lighted wax torches. Besides these,
other distinguished persons were to be seen moving along with the
slowly progressing throng. The Privy Councillors VON MOSEL and BREUNING,
many
(the latter
Brothers
being an early friend of the Deceased, and his Executor) BEETHOVEN'S

and still farther in the distance the pupils of the Conservatorio and
St. Anna School for Thorough Bass
Chapel-Master DRECHSLER,
mourning together over a loss, which was felt to be irremediable
those of the
etc. etc. All
in the
world of
Art.
Arrived at the Church', the sixteen Singers already
me Domine
during the Blessing, the Libera
Chapel-Master VON SEYFRIED
Upon
this occasion,
alone
alia capella.
for four voices,
however,
it
was
ground
of
Wahring
it
composed by
with an orchestral accompt.
necessarily arranged for four male voices
As the State-hearse, drawn by four horses

rial
named performed,
de morte aeterna,
was followed by
proceeded towards the Bu-
several equipages from the line.
honour of the departed, written by GRILLAXSCHUETZ

the Court- Actor, surrounded by a circle
PARZER,
by
of sympathising friends. Baron vox SCHLECHTA and Mr. CASTELLI addressed a
short but very interesting poem to the mournful assembly, and before the
In the Burial-ground an oration in
was
grave was
delivered
filled
up, Mr. HASLINGER presented three hurel wreaths to the gene-
who stood by
upon the coffin. Those friends who were most
turf was smoothed over the coffin.
rous-hearted Composer HUMSIEL,
Both the above-named compositions
were performed
in the
Church
his side,
Requiem was performed
in
memory
who
laid
them
till
the
the Miserere and the Libera
of the Augustines
being said for the soul of LUDWIG VAN BEETHOVEN

zart's
and
interested remained
on the occasion of mass

on the
3.
of April
of the illustrious dead
Mo-
and on
41
THE FUNERAL.
same month Cherubini's Requiem was given by the society of
the 26. of the
the Friends of Music, in compliance with the general wish
Roman
of the
Catholic Clergy
Requiem was concluded.

The well-known but
were repeated
at the
while the duties
when
catafalque
interesting story connected with the Miserere
the
is
as
While Ludwig van Beethoven was visiting his brother who was settled as an apothecary at Linz, in the autumn of the year 1812, the Chapelfollows.
Master of the Cathedral there, Mr. GLOEGGL, begged him, as

friendship, to
compose
movement
this
for four
trombones,
in
matter of
order that some
of his music might .be performed there on every anniversary of All-Soul's-
day. BEETHOVEN assented readily; he wrote for the purpose three pieces,
which though short, display throughout the hand of the master; the Chev.
I. von SEYFRIED was afterwards so fortunate as to enrich an already inval-
uable collection of autographs of the great composer with the original Manuscript of this work.
On
the morning of the 26. of March 4827
when no hope remained
of
averting the threatened loss, Mr. HASLINGER carried this manuscript to Cha-
pel-Master VON SEVFRIED

arranging
it
in
order to consider with him the possibility of
as a vocal chorus to the
words of the Miserere
and thus
to lay
the earthly remains of our Musical Chief to rest amid the tragic echoes of
of
.one
occasion
It
was
his
,
own
creations.
determined
SEYFRIED,
attempt the task
though painfully affected by the

and set to work without delay.
,
finished during (he following night.
This composition
was
to
was
therefore
made use
of in a double form
performed,
key, by
repeated (transposed a tone lower) -by the \ 6 singers
apted
to it,
was chanted
in
alternate
stanzas,
the piece
with the words ad-
those from the penitential psalm Miserere mei
viz.
four trombones soli, and then
in the original
first
Dew, which
while the corpse was carried into the
church.
Beethoven, Studies.
I'
'*
.1 v,
.,1
3
=
'
'
=
S5
s
S
w
SS
3
O_
?
=
f
o
w'
a:
oo
oo
i
-J
9
*
45
AUTOPSY.
BEETHOVEN having expressed

investigated
it
wish that the cause of his deafness might be
not be out of place to give a detailed account of the post
may
mortem examination which was undertaken by Dr.

of the Deceased, in presence of Professor
results
were
Jos.
WAWRUCH,
WAGNEB,
M. D.
at the
house
the principal
as follows.
The external ear was large and regularly formed, the scaphoid fossa but more
was very spacious and half as large again as usual the various angles and sinuosities were strongly marked. The external auditory canal was
covered with shining scales, particularly in the vicinity of the tympanum, which
was concealed by them. The Eustachian tube was much thickened its mucous lining swollen and somewhat contracted about the osseous portion of the tube. In
front of its orifice and towards the tonsils some dimpled scars were observable.
The principal cells of the Mastoid process which was large and not marked by any
notch, were lined with a vascular mucous membrane. The whole substance of the
Os petrosum shewed a similar degree of vascularity, being traversed by vessels of
considerable size, more particularly in the region of the cochlea the membranous
,
especially the concha
spinal lamina appearing slightly reddened.

The facial nerves were of unusual thickness the auditory nerves , on the conwere shrivelled and destitute of neurina the accompanying arteries were
trary
part of
its
more than
the size of a crowquill

and cartilaginous. The left auditory
nerve, much the thinnest, arose by three very thin greyish striae, the right by one
which was at
strong clear-white stria from the substance of the fourth ventricle
this point much more consistent and vascular than in other parts. The convolutions
dilated to
were full of water and remarkably white they appeared very much
deeper, wider, and more numerous than ordinary.
The Calvarium exhibited throughout great density and a thickness amounting
of the brain
to
about half an inch.
The cavity
of the Chest
together with the organs within
it,
was
in the
normal
condition.
In the
cavity of the
Abdomen
four quarts of a greyish-brown turbid fluid
were effused.
The Liver appeared shrunk up to half its proper volume, of
tence and greenish-blue colour, and was beset with knots the
,
its
tuberculated surface
as well as in
its
substance
narrowed, and bloodless.

The Gall-bladder contained a dark-brown
all its
fluid
a leathery consis-
bean on
were very much
size of a
vessels
besides an abundance of gra-
velly sediment.
The Spleen was found

and
to
be more than double
its
proper size
dark-coloured,
firm.
The Pancreas was equally hard and firm
its
excretory duct being as wide as a
goosequill.
The Stomach
together with the Bowels
was
greatly distended with air. Both
Kidneys were invested by cellular membrane of an inch thick
and
infiltrated
24*
with
NECROLOGUE.
44
brown turbid fluid their tissue was pale-red and opened out. Every one
was occupied by a calcareous concretion of a wart-like shape and
as a split-pea. The body was much emaciated.
a
calices
Dr. JOSEPH
(Signed.)
WAGNER,
Assistant in the Pathological
The following
article is translated
of their
as large
Museum.
from the Leipsic Univ. Mus. Journal of 28. March,

warm but not extravagant panegyric.
4827, as a favourable specimen of
no more!
have just received the news of his death

in Vienna. On the 26. of March, at
and
Beethoven's
great
sunset,
powerful spirit freed itself from the earthly
tenement which had in many respects proved so burdensome to him that he
BEETHOVEN
from one of
is
most intimate friends
his
must have succumbed
and
in his latter years
have been
lost to
Art
had
and philosophic patience offered

He had reached his fifty-fifth year. The voice
not his innate energy, his perseverance,

successful resistance to the foe.
of lament for his loss will be heard as far as the influence of Music extends,
and
long, long will
echoes be repeated
its
the most multifarious, the most original that

sesses
in
He surpasses
he has disdained
path,
into the
our time.
all
to
his rivals as
reproduce his
widening the sphere of
an Inventor,
own
ideas
for manifold as are his
he
his imagination,
is
works,
ever found treading a
and penetrating yet deeper
mysterious regions where Fancy reigns supreme.
He was not
be restrained by the reflection that few would comprehe even risked the chance of failure but his eye was
be diverted from the bright star that shone above him and controlled
hend him
not to
modern instrumental music pos-
the flights of his genius are the boldest and the loftiest that have
been attempted
new
His compositions are the greatest,
to
at first
Wherever
his greatest thoughts and highest efforts are not apbecause

the Few, that are capable of following his eagle flight,
preciated,
are absent; when they are present, their influence will certainly be felt,
and they will guide the public in its judgment. These noble Few will increase,
his destiny.
it is
and so
who
will the circle of
BEETHOVEN'S fame grow wider and wider. Those
are intellectual enough to grasp his ideas, and enjoy them, will love his
works
in proportion to their knowledge of them. For a long time pasthehas

maintained such a position among his competitors that no one thought of
,
him upon those points on which he grounded

distinction. The strong avoided the contest, the weak
disputing the sovereignty with

his peculiar claims to
fell
before him in the vain attempt at competition. Those
who
in the earlier
45
NECROLOGUE.
part of his career unadvisedly ridiculed or underrated
repented their folly,
and hide
their
shame
him have long since

which was their
in the obscurity
proper element. With a rare devotion did
Poet of Sound turn the
this true
his natural and acquired powers to the service of Art, for which he
was created. He had no other aim or desire in life than to be a great Artist.
whole of
Neither wealth nor the tranquil joys of the household affections were his
was
to
him both wife and
Art
child. 'He did not
the last fifteen years of his
life,
understand the world, and, for

could not even hear men speak; in propor-
which he held with them diminished, so did he become more and more incomprehensible to them except thro' the medium
tion as the intercourse
Cut
of his music.
a
world
he lived
off
from society by the
for himself out of sounds, not

a
and of the
loss of his hearing,
heard
but felt. In
he constructed
this
mystic sphere
wondrous proof of the power of Mind over hostile circumstances,

certainty with which success may be commanded by the union of
and manly determination. His motto was ,,,press forat

and
ward,"
every stage of his progress he left some worthy memorial behind him Nor did his affliction serve with him as a constant source of comtalent with strong will
plaint
as
he went on,
so glorious a
grief
still
producing fresh creations
he looked not always
dark side of his fate, but praised the Mighty Bestower of genius for
at the
gift.
How many
days
and bitterness, were solaced by
parable loss as a nation, but
let
that
would otherwise have passed in

Muse! We feel our irre-
the gracious
us rejoice that Beethoven's works remain to
an heir-loom for ever. They will form a bright page in the history of Art,
inasmuch as he gave us in them a true index of the period in which he
us,
lived;
tory.
and he himself,
His fame
is
in his
built
own
individuality,
made
that period
and
its
his-
upon a sure foundation."
The following is a literal translation of the stanza written by Grillparzer to the

choral Melody in D (,,Du dem nie im Leben," etc.)- which was sung at Beethoven's
,
funeral.
Thou,
to
whom
life
vouchsafed nor
home nor
Sleepest at length in peace and quiet gloom

0,
if
our
hymn can reach thy

own sweet song
List to thine
rest,
spirit blest,
,
within the tomb
46
ELEGIES.
STANZAS READ OVER THE GRAVE OF BEETHOVEN

March
29. 1827.
by Francis, Baron SCHLECHTA.

Forth from a rock a fountain broke
and
rife
With quick'ning power spread o'er the thirsty

Where'er it flowed it left the seeds of life,
And
turn'd old nature into youth again
around
A
A
few there be
Who
lh'
to crave
of deeper-searching mind,
drink delighted of that wondrous stream;
Others admire to see
it
And
upon
Sol's bright rays
Others a
common
gently wind,
The fountain sank
With shame and
its
surface gleam;
rill the fount declare,
Less marvellous than some
And
then
grief
and
first
its
far less fair
the giddy throng
tardy
homage paid
zealous Art, with emulative song,
Pour'd in the praise long earn'd and long delay'd

Alas
enchanted spot,
bountiful refreshment from the wave.
All throng'd
plain
no sigh no tender-plaintive
,
Can bring the vanish'd fountain back
Thou
Thou
lost
One from thy mortal

,
wert the fountain
and
its
lay
to
day
fetters freed,
power
own
thine
Thine was the magic volume few could read,

And less could understand; now thou art known.
Now
its high-wrought praise would give

and thou must have died to live
every tongue
Exulting
LINES ON BEETHOVEN,
written
and recited by ANSCHUETZ
Sounds were
at the
his colours
by
J.
G. SEIDL
Concert spirituel in Vienna,

,
May
and the human heart
The canvass upon which with highest art

He drew his image
shrouded oft in sadness,
And sometimes bright with more than mortal gladness.
3,
1827.
47
ELEGIES.
LINES BY
spoken
Beethoven's funeral.
at
The worshipp'd Muse hath
And yonder
her side
at
CASTELLI,
F.
J.
called
That sprang from his deep mind

Strains
him
to the skies,
those harmonies
which on earth he was
salute his ear
forbid to hear!*)
TO THE SHADE OF BEETHOVEN,

Impromptu by De
Thou
Motte Fouque.
la
Master-spirit, often hath
my
soul
Thirsted to pour forth- song for song with thee,
enigma of thy being
'Since
first th'
In
the varied forms of melody
all
O'er
my
enraptured senses
by thy tomb
should stand, and lasting gloom
Despairing
stole
Were mine but

,
that
we
trust
yet
may
sing
Together 'mid the roses of Heaven's spring.

(For these literal and elegant translations
am
indebted.
to
the kindness of
P.
friend.)
EPITAPHS BY
Ludovico
J.
GABRIEL SEIDL.
Van
Beethoven
Cujus
Ad
Triste
Omnes
Mortis
Flevere
IN
Nuncium
Gentes
Plaudente
Coelitum
Choro
TUMULUM LUDOVICI VAN BEETHOVEN.

Fa to mortalis; vita bonus; arte perennis,
Morte suum moriens eximit ipse decus.
*)
which were
Alluding particularly to the Mass in D and the Sinfonia No. 9
at the time when Beethoven's deafness had reached its climax.
composed
A8
BEETHOVEN'S MONUMENT AT BONN.

but I have added, in
Part of this appendix is translated from the German edition
compliance with a request of the publisher's, some remarks upon B's individual character, and a brief summary of my own opinions regarding
,
his works.
P.)
If we would convey to our readers a correct idea of Beethoven's deep

and permanent influence upon the musical world of Europe, we must record
the history of his

justice of
monument
for in that
speaks the vofce of posterity, the
which can hardly be questioned.- The Charlatan, the wealthy or
fashionable Artist, the Favourite of the public for a brief space,
through
a variety of
means
retain his position
wili often,
not indeed for any great
length of time, but long enough to deceive sjiallow observers, and, alas! long
to
enough
keep back the man of real genius and real claims. Works of little
may even please an enlightened public for a while; the
value
intrinsic
may be
gold
sterling
so ingeniously imitated as to pass muster even with
a more unerring eye is brought to

till a closer examination
good judges
bear upon it; then the counterfeit is exposed. It may happen that a great
,
he disdains
Artist (because
name and works

offence
to
aggrandize himself by seeking to bring his
before the public) has here and there given
continually
perhaps he omits to flatter a patron perhaps to visit and cajole a

critic
for such or similar reasons the Poet- Artist may remain
,
venomous
for a time in
obscurity,
and be undervalued, while those far less gifted,

may be as much over-
but more skilled in the tricks of self-advancement,

prized
an old
,,Tis
individuality
tale,
and often told." But from posterity, where the Artist's

taste of the age no longer come into play
and the capricious
from posterity alone does the Artist receive the full meed of justice neither
too much blame nor too much praise. It should, however, be remarked that
,
this perfect
balance of arbitration
Artist
is
not always to be found immediately after
man s death whether he be Hero, Statesman, Poet, or

some further lapse of time is generally required to fix an unerring
the event of the great

:
His departure from the world
standard of his claims.
the signal for an outburst of enthusiasm
and
rits
abilities as the
them. Death
enmities
blind. But
ted
is
men
if
envy of
his
is
not unfrequently
which as palpably overrates
his
me-
contemporaries had, perhaps, depreciated
a mighty reconciler, says SCHILLER; and in forgetting their
are apt to exaggerate the virtues to which they were once
nearly twenty years pass, and this enthusiasm remains unaba-
should Posterity
then
think
fit
to
grant such a
monument
as that
49

of
BEETHOVEN
Bonn
at
there can be
little
doubt of
its
Many
justice!*)
dying prematurely and in the zenith of his reputation,

has been deifie,d by fanatic admirers for a time but such fame is not lasting,
and the false glitter cannot stand the test of years. This truth has been exemPoet and Composer
plified in the case of
more than one modern
celebrity
and Journalists; the Public being,
teries
timid to exert
own
its
even daring
scribblings,
and void! This
null
should a
why
for
law
sed sooner or later
mean while ?
the
too phlegmatic or too
see
anonymous
critics,
are legible in every line of their unnecessary
to dispute the
judgment of the Public
and declare
attack
upon
two ?
but
in
private character be visited by the
who
both cases the falsehood
wrongs
inflicted
is
is
sure to be expo-
may have been done
shall calculate the evil that
the grievous
it
power
Censor
to call loudly for the interference of a
mendacious
the greater libel of the
in
Co-
a certain price, of
the gross disparagement of works of Genius be permitted ? which
if
own day
evil days,'*
a height of presumption, a rank abuse of the
is
which seems
of the press,
We
on
fallen
,,
for a while,
prerogative of decision.
whose ignorance and malice
and in our
we might perhaps discover an instance of it. We are

when fame is bought and sold, and is purchaseable at
detraction are but
by
ill
recompensed by future fame. ,,Genius is the intuition of truth," says

Lavater; what wonder, then, that it should excite the spleen of vulgar minds,
such as hate truth, and whose only intuition
is
and slande-
that of lying
ring?
BEETHOVEN had many adversaries during
went so
far as to
compare
obscure
hope
to
aim
some
them even
inco-
critics to
study the works of defunct masters,
at a successful imitation of
them
than to cherish the vain
own crazy phantasies admired by the public. Those who

the old pedantic school of criticism blamed him for infringing the
of seeing his
belonged
to
rules of counterpoint; others
condemned
his irregular
rhythm
cadences, sudden transitions, and unheard-of modulations

that his
works were sadly
deficient in
melody
In fact
had long secured the favour of the Public before the

their minds to praise it; these learned Thebans were
to
of
his
He was recommended by some

and rather
life
music was called extravagant, bombastic, farpreposterously difficult of execution utterly unvocal etc.
herencies of delirium
fetched
"his
the bold flights of his imagination with the
his
broken
others complained
BEETHOVEN'S music
critics
could
at length
make up
compelled
its high pretensions, and having once seen the necessity

they began to extol as masterpieces of Genius the very works which
acknowledge
of this,
*)
The noble monument
his death.
of
MOZART
at
Salzburg was erected
50 years after
50
they had formerly declared to be

ever likely to be
a tribunal
total failures
Thus
it
was, and
Ignorance, Arrogance, and Mediocrity
is,
and
is
make themselves
before which Excellence, Genius, and Learning are called up like
delinquents, to receive their sentence! well
may SCHILLER
exclaim:
,,
Absur-
dity, thou art victorious!"*)
do not mean
to enter into a
minute examination of BEETHOVEN'S works, but

that subject, may not be out of place here.
few more remarks, bearing upon
The very
partial
success of ,,Fidelio" (when
first
edly excited a feeling of jealousy in BEETHOVEN'S
poser of the Freyschutz, which he vented,
at the
produced) had undoubt-
mind towards the Comtime
when WEBER was
superintending the performance of his ,,Euryanthe" at Vienna, in sundry

expressions like those already quoted (v. p. \ 6). BEETHOVEN could not, however,
feel himself justified in
develope
saying that
WEBER began
to learn
him. BEETHOVEN began quite as
itself fairly in
too late for Art to

late as
WEBER,
for
he was turned 22 when he commenced the study of Composition. At that

time he was nominally a pupil of J. HAYDN'S, who, for some unknown reason,
neglected him and suffered the numerous faults in his exercises to pass uncorrected.
Under ALBRECHTSBERGER he evidently gave his serious attention to counterpoint, but he never loved it, and was never fluent in its resources. This
must be regarded, on the whole, as a fortunate circumstance for had BEETHOVEN been a great fugue-writer he would not have produced his Symphonies
There is something in the very nature of the Symphony the great orchestral Fantasia, which is at variance with the sour severity of counterpoint.
;
And
moreover
Orchestra.
the Sonata
is
to the Pianoforte
stages of his
what the Sinfonia
is to
the
even in the earlier

must not be supposed that BEETHOVEN
career, met with nothing but injustice; on the contrary, he was
It
,
governed by men
and devoid of prejudice , (e. g. the Leipsic Musical
Journal**), published by the great firm Breitkopf and Hartel) disposed to lend
him their full support and give him the advantage of their able and kindly
fortunate in finding several very influential Art-journals
of intellect
far-seeing
criticism
number were
of this
Rochlitz and Fink, the latter one of BEETHOVEN'S
warmest admirers, an original thinker and a fine writer. Such critics as these
(si sic omnes /) deserve the thanks and praise of all who can appreciate the
works of Genius which they present in their proper light to the world and
,
shield, with a sort of parental care, from the envenomed darts of Detraction.
*)
is
,,Unsinn,
du siegst"
v.
quoted from one of HEGEL'S

**)
Which
Jungfrau von Orleans; the above remarkable passage

letters.
sadly degenerated, and ceased to appear at the close of -1848.

So much has been
ol
written about BEETHOVEN'S Symphonies,
taken collectively, are his greatest works, that
it
which,
would be superfluous
to
review them again in detail. Even the ninth Symphony with Chorus in the
has now been so frequently and magnificently performed in
last movement
,
but
Germany, England, and France, that its peculiarities are well known
whether the Comit still appears a moot point
adhuc sub judice lis est
;
work
poser's deafness did or did not exercise an influence over this
(as
well
which may be regarded as

the
facts:
Common people canexamine
more
Let
us
apparent
injurious.
not readily understand the peculiar power which every real Composer
as over several others written during that period)
viz. that of creating
possesses,
ing every note of
it
mental
with his
ear, and being thus rendered inde-
This seems a dark riddle to those
of external sounds.
pendent
music without the aid of an instrument, hear-
who
are not"
similarly gifted but the fact offers an easy explanation of BEETHOVEN'S unimpaired activity during his deafness and at the same time demolishes the
,
some
supposition that his latter works would have been less complex
(or,
would say
another and
obscure) had he been able to hear them. There
very different reason
why
the Mass in
the ninth
is
as
Symphony, the Quartetts
dedicated to Prince GALITZIN, the Quartett in Cjfmmor, the Variations on a
Waltz-motivo of DIABELLI'S,
etc.,
are
more
elaborate, less melodious, at times
approaching nearer to the confines of eccentricity, than other works of the

same class, which BEETHOVEN produced while he still retained his hearing,
,
oral
while his deafness was yet
least
BEETHOVEN, as he went on, and his
by
that very process,
some
partial.
The reason
did
characteristic of
his flight
wing;
but he knew
that sacred
should say the
is
little
that of the eagle,
of
.,
for I doubt
any
of the
above-named works.
finest
music
is
in
BEETHOVEN'S
but his love
loftier,
not attach a very peculiar meaning to that word
whether the true Sublime can be found
The strongest
(losing,
of the luxuriant verdure of youth) altered his
views of Art considerably: they grew larger, wider, and

of the Beautiful began to be merged in that of the Great,
Sublime
briefly this:
is
and genius were matured
intellect
a vast strength of
broad, rapid, bold, cloud-piercing;

pomp," his mind was not filled with
the angel's floating
enthusiasm which
is
so palpable in the conceptions of Milton
and Handel, and which bore them, as on seraphic pinions, to the very throne
of Sublimity. It may be that BEETHOVEN'S want of belief in theology gave to
his Oratorio and his Masses that secular colouring which is observable in
them; he
is
often both tragic
Overture to Coriolanus, and

.delio,
and
there
is
and pathetic, as in his funeral marches, the

passages in the music of Egmont und Fi-
many
true solemnity in the Introduction to the
in the last chorus, ,,Hallelujah," there is
,,
such a glorious
Mount
fire
of Olives,"
and
intensity,
52
that
are
BEETHOVEN ever
if
many who
attained to the Sublime,
therefore call the last
movement
perfection of language
makes
but the truth perhaps
may be
human and
it
and who would
Cminor Symphony sublime;
of the
difficult to define
it
instance. There
is in this
confuse the terms Magnificent and Sublime
two kinds
that there are
the
im-
these shades of distinction,

of Sublimity, viz. the
the superhuman; the former will be found splendidly exemplified
BEETHOVEN'S song ,,in questa tomba," in the Adagio of his Septett, the
Overture to Leonore (No. 3) and the March, with Chorus, in the ,,Ruins of
Athens." The Sinfonia pastorale is perhaps the most perfect and the
in
most genial of
all
his works.
Nature set to music. The
it is
movement
first
Cminor, of the Eroica, and of the choral Symphony, may

well be styled inimitable and surpass in my opinion the other movements
are the finest
of those Symphonies which
together with the Pastorale
of the
Symphony
in
ever yet written. There

in A, in spite of its
is
noble
more
sterling stuff in these than in the
Andante;
the others, viz. No.
<.",
2.,
Symphony
4.,
and
8.,
though rich in beauties, are undoubtedly inferior

they display less energy,
less spontaneity, and less poetry; the \. and 2. (in C and/)) are also tinctured with the style of Haydn and Mozart.
Much might be said concerning the instrumentation and the inner construction of these
works
especially with regard to BEETHOVEN'S frequent use
and of variations upon the motive of the Andante, etc., which

would not be entirely out of place here but I never intended to enter into
of the Scherzo,
his own opinion upon these

The
of
the
is
now
but
little
influenced by any writPublic
points.
judgment
ten discussions
and follows its own bent. It is for the Artist to find out
minute criticism
and every musician will form
for his
own
instruction
why
a favorite as several of the others
vanni or Der Freischiitz;
admired than
,,the
why
Creation;"
traction undiminished;
BEETHOVEN'S ninth Symphony

;
why
Mount
.,the
the
why
and what
is
Fidelio
,,
is
of Olives"
is
not such
Don Gio-
far less generally
Adelaide" retains
the subtle
is
popular than
less
its
charm residing
in
power
of at-
BEETHOVEN'S
Symphonies, Concertos, and Sonatas a charm that has, hitherto, placed them
beyond successful competition. The latter question will, indeed, find a ready
answer from those who are capable of distinguishing between genius and
;
talent,
between innate grandeur of thought and
strutting
bombast; between
the estro divino of the real bard, and the strained efforts and dry lucubrations
of the false one.
BEETHOVEN'S admiration of Cherubini's music decreased

rably
forît
during the later years of his
life
but he
still
which reminds one of Byron's singular fondness
preference of Ossian to Shakespere.
very conside-
entertained a partiality
for
Pope, or Napoleon's
So

But for these and similar instances of a strange prepossession
seem incredible
should have
felt
that the fiery
imaginative
much sympathy with the cold,
would
it
rule-contemning BEETHOVEN
though
correct, unimpassioned,
often graceful effusions of Cherubini.
BEETHOVEN belonged to
which is now nearly .extinct
accelerate his fame
by
German Composers
that primitive class of great
he led the
.
intrigue
flattery,
life
of a
real Artist
and backstair influence
disdaining to
forming
no clique
of prejudiced admirers,
rivals
preferring solitude to notoriety , shrinking even from public ho-
mage,
aiming
above
all
to
the vituperation of
his inspiration
from his
own abundant
all
and
immortality rather than present celebrity;
at future
drawing
bound, by oath
fancy instead of
borrowing the thoughts of his predecessors, or endeavouring to hide poverty

of invention under the mantle of pedantry. BEETHOVEN'S learning was not so
great as to oppress him, nor did he use
it
was confined
of his executive skill, as a Pianist,
when
career
tion
necessity compelled him to use this
soon as
as
The
that capacity.
eyes
such
for
for
like
it
wa
him
possible for
He had no stereo-
as a make-shift.
typed forms and phrases, no excessive mannerism, no
to
affectation.
The display
to that early period of his
means
of acquiring reputa-
do so he appeared no more
were
plaudits of a saloon or a theatre
in
of small value in his
he had no vanity. He was often obliged to compose variations and

fashionable pieces, because the publishers offered him higher prices
them than
for great
works
but he wrote those bagatelles with great ra-
a case which the extravagance

and only when he was in want of money
of his nephew (to whom he could deny nothing), as well as the depredations
pidity,
to
which
His
his carelessness
life
was devoted
exposed him
to Art,
rendered somewhat frequent:
but he was too proud and had too
self-respect to seek the worldly advantages of fame

lations of the charlatan.
and so
Of
this
noble stamp were
will they ever be. In spite of the
by the
all
somewhat
ours which the Viennese accorded to BEETHOVEN,
tricks
much
and calcu-
great Artists
and Poets,
hon-
ostentatious funeral
it
is
an undoubted
fact
much
previous neglect; had it

way,
not been for the generosity of the three noble persons who gave him his pension, he would often have suffered actual want. Some of his letters translathat they attempted, in that
ted in this
volume appear
to
atone for
to
have been carefully selected on account of
their
some pecuniary transactions with his publishers and one of the

dialogues suggests the same idea. But I have heard a different story from
some of his personal friends, and know that, besides the precarious nature
alluding to
of
all
remuneration for works of Art
BEETHOVEN received
upon
the whole,
very inadequate reward for his labours. It was only during the last two or
three years of his life that he could be said to have been well paid. No
54
it
necessary to give him an order, and in
v.
C.
M.
resembled
he
this point
WEBER, who received no decoration, while
Dresden
the
Maitre
at
de chapelle Morlacchi
his colleague
rejoiced in the
German
or foreign Prince thought
title
BEETHOVEN was not even presented with a doctor's diploma!

he had little need of such a title and would very probably have
of Chevalier!
certainly
stance
remarkable that no German University (the one for inwhich converted the Pianist Herr FRANZ LISZT into Dr. FRANZ LISZT !)
refused
it
but
is
it
and so he
should have had the grace to offer the title to BEETHOVEN
remained, without any handle to his name simply Llldwig Van Beethoven !
;
This great
Composer was
existence almost forgotten

his
music resounded
Such
SALIERI
is
at one time totally neglected

and his very
while Rossini was the theme of every tongue and
,
every house at Vienna
the discernment of the world in general
ROSSINI
in
and SPONTWI could
all
BONONCINI , PICCINI,
boast , with perfect truth
that they
were once preferred to HANDEL, GLOCK, MOZART, BEETHOVEN, and WEBER. But
time makes the crooked straight, and reconciles all inconsistencies.
1 83 5 a
meeting was held of the respectable citizens of Bonn,
about erecting a public monument to their illustrious countryman.
Principal members of the Committee were Professor A. W. von SCHLEGEL,
In the year
to consult
Professor BREIDENSTEIN and

the learned
WALTHER
which was then accepted by
and Count FUERSTENBERG-STAMMHEIM
SCHLEGEL was elected President
but soon resigned the
office,
Prof. BREIDENSTEIN.
subscription for the expenses of the
monument found
ready re-
Commission of connoisseurs was appointed to decide upon one of

the many models sent in for approbation that of the sculptor M. HAEHNEL in
Dresden was fixed upon, at the price of 10,640 dollars (about 1600).
sponse
The
entire monument, (which stands in the Minster-Square at Bonn) the

BEETHOVEN (an admirable likeness) the pedestal and the beautiful
in Nuremberg,
Basreliefs, were cast in bronze by the famous BURGSCHMIET
statue of
who
executed the fine statue of ,,Albrecht Diirer" in that
It
was determined
ment by
to celebrate the inauguration of the
and also the
Beethoven-monu-
a grand Festival of three days' duration, viz. the 10.
August 1845. The concourse of
were many
jesty
city
,, Bavaria" at Munich.
colossal
Queen
of the leading artistic

Victoria
and her
1.
and
12. of
was immense, and amongst them

and literary celebrities of the day. Her Ma-
visitors
illustrious
Consort Prince Albert, His Majesty
King of Prussia, and the Queen of Prussia , the Prince

of Prussia, the Archduke Frederick of Austria, the Duke of Anhalt-Kothen,
Frederick William IV.
the Earl of Westmoreland, etc. etc.
honoured the ceremony with
their pre-
sence. The musical performances consisted of three grand Concerts, in which
55

(with a very powerful and excellent Orchestra
and Chorus) the
following works of BEETHOVEN: The Mass in C, the ninth
the
were given
Mass
Dr. Louis SPOHR), the
Symphony,
Symphony in C minor,
the
(conducted by
Pianoforte-Concerto in Eft, the Introduction (or Overture) and two of the
in
vocal pieces from ,,the
canon from
the
,,
Mount
of Olives," the Overture to Coriolanus, the
Fidelio, the string- Quartett in/?t?> the second Finale from Fidelio,
Adelaide," and the immortal Overture to Egmont.
a brilliant illumination of the
The Monument
worthy
to
is 'in
town concluded
every respect a
bear the name of BEETHOVEN
Who
for
firstrate
grand banquet and
memorable
work
festivity.
of art, and not
so sepulchred in such
That kings
this
pomp doth
such a tomb would wish
lie,
to die.
H. H. P.
un-
The Hymns:
,,
Miserere", ,,Aniplius", ,,Libera",

sung
at
BEETHOVEN'S FUNERAL,
on the 29. March 1827.
(The words ad
Tenore
l mo
Tenore 2 do
<
Basso
l mo
Basso 2
Pianoforte.
THE HYMNS.
rf_f_
re
me
-re
De
bar -me dich, mein Scho
re - re
bar-me
me
i,
pier,
De
re -re me-i,
ja des Mitlcs
mi -se - re -re me - 1,
du bist ja des Mitleids
us,
mein Scho -
dich,
mi-se du bist
us,
pfer,
F=^=EJ!^:E=^=
rwe
re - re
De
De
Quel
mt-se - re - re
des
bist ja
du
MS
- se - re - re
mi
le,
ach, er-barme,
le,
us
me
Schb'
mi-se -re -re
me
ach, er-barme,
Scho
mt-se - re-re
ach, er-barme,
le,
mi-se - re -re me-i,

du bist ja des Mitleids
pfer
us,
MS
De
mein Scho
dich,
Quel -
Quel
De-us,
Schopfer
me
bar-me
De
mein
dich,
me
Scho
pfer,
pfer,
_P
is:
De
Quel
us
le,
Beethoven, Studies.
mt-se - re-re
ach, er-barme,
me
Scho
se-
du
pfer,
pfer,
se -
cww
du Born derDursten-
58
THE HYMNS.
P
'
pjA-f-f-f-4
59
THE HYMNS.
~E
mi-se - re - re me-i,
De - us,
ach.er-barme dich, mein Scho - pfer
mi-se -re-re
barme
ach, er -
jEElEJ
mi-se - re -re
me -i,
De ach, er-barme dich, mein Scho
mi - se
- re - re
ach, er
me
bar-me
De
mein
dich,
Scho
mi-se - re -re me-i

De
ach erbarme dich, mein Scho
&
us
-
MS
-
pfer,
mi - se-
ach, er-
pfer,
MS,
-
pfer,
rJi:
^3E
'
d=3b=i=3b^b
=|z^_j*:
ffe
->=
=
2
g-
-f
=t?=t-
-=
i^-ES
'~ ~J
HH
me - i
se -
-1
cun-dum
mag
bar-me
dich, Vater, ach, er
nam
mi
dich,
des
- se - rt -
cor-di-am
Mit-leids ein-zi-ge
:fe
mi
- se
re
- bar ach, er
me
re
dich,
- se - ri - cor - di - am
des Mitleids ein-zi-ge
mi
i^-s
re - re
me
bar-me
dicb,un-ser
mi-se - re - re
ach, er - bar-me,
se -
cun
Va
me
Va
ter,
dum
mi-se -
ter,
des Mit-leids ein-zi-ge
dich,
mi
ri - cor -
- se - ri -
cor-di - am
des Mit-leids ein-zi-ge
k=t=4==T
.I-
di-am
%3.-J&:
25*
THE HYMNS.
GO
f
|bH>
L..-.
61
THE HYMNS.
Amp
1 i
s*
Poco sostenuto.
Tenore
dole.
Rei - ni-ge,
- nila - va me
ab
i
qui-ta - te
Va-ter mich,nimm von mir dieSchuld der
Am-pli -us
Rei -ni-ge,
- ni la - va me
ab
i
qui-ta - te
Am-pli -us
- ni - te
la - va me
ab
i
qui ta
Am-pli-us
Tenore
Basso
Rei - ni - ge,
Basso
2< l "
06
i - ni - qui-ta - te
to - va we
Va-ter mich,nimm vou mir dieSchuld der
tts
Rei -ni-ge,
Pianoforte.
me
- a
et
Siin - de,
me
et
Siin - de,
me
U| P
/î
me
l~a
Siin - de,
pec
mun-du
mehr auf
me-o
Un-bill
la-sle
ca-to
me-o
Un-bill
la-sle
o pec - ca-to
Un-bill
dass kei-ne
pec - ca-to
dasskei-ne
Siin - de,
~jr
dasskei-ne
me
la
mun-da
mehr auf
mwi
ste
mehr
"*" "
et
pec - ca-to
dasskei-ne
Un-bill
me -o
la
-ste
munda
mehr auf
da
auf
THE HYMNS.
me
et
pec - ca -
von je-der
mir,
me
el
von
rair,
a pec - ca je-dêr
to,
a pec - ca
Siin-de, je-der
to,
pec
Siin-de, je-der
to
Un
bill
- ca
Un
to
bill
'
\A'
me
mir,
et
a pec-ca-to, pec-ca-to
me-o,
von je-der Siin-de und je-der Un-bill,
mir,
-,,%-\2'
!-?
et
a pec-ca
von je-der
p-
to,
Sunde
pec-ca-to
und jeder
me-o,
Un-bill,
'
.
pec-ca-to
von Siinden
I
me
pec-ca-to
von Siinden
THE HYMNS.
Lib
e r a
(sung during the benediction of the corpse).

(Composed by Sey fried.)
ft>
_P_
Tenore
'ff
mo
Li-bera me, Domine,
* V&&
r~
- bera de
morte ae -ter -
- bera
de
morte ae -ter -
de
morte ae -ter
morte ae-ter
li-bera de
fv
p
Tenore 2 Ao
Li - bera me, Domine,
Basso
li
fp_
l mo
Li - bera me, Domine,
P
Basso
li
fp
2-'"
Li - bera
m,
Domine,
li
- bera
na
in
di - e
r\>~^~\-y^\ws>
tre -
men
la tre -
men
.-
- la tre -
men
il
- la
il
da,
quando
coe -
do,
quando
coe-li
mo-
da
quando
coe-li
mo~
quando
coe-li
mo-
li
mo-
na
in
di - e
na
in
di - e
na
in
di - e
il
il
la
tre -
men
da,
64
THE HYMNS.
ven-di sunt et
ter
ra
vendi sunt
ter
ra,
ter
ra
et
P*
dum
ve - ne- ris
t?e
- we -
IE
vendi sunt
et
dum
ve - ne- ris
ju-di-ca-re
sae-cu-lum,
ju-di-ca-re
sae-culum per
ig
ju-di-ca-re
sae-cu-lum,
ju-di-ca-re
sae-culum per
i$
ju-di-ca-re
sae-cu-lum,
ju-di-ca-re
sae-culum per
ig
ju-di-ca-re
sae-cu-lum,
ju-di-ca-re
sae-culum per
ig
PP
nem.
Tremens
fac-tus
sum e-go
et
ti-me-o
dum
discus-si - o
nem.
Tremens
fac-tus
sum e-go
et
ti-me-o
dum
discus-si -o
e-go
et
ti-me-o
dum
sum e-go
et
ti-me-o
werw.
Tremens
fac-tus
new.
Tremens
fac-tus
sum
dum
discus- si -o
discus-si - o
THE HYMNS.
II
jp
_^
THE HYMNS.
66
|}^|,
$0
Cf
THE HYMNS.
nem.
Re
Re
nem.
ter -
quiem
ae
quiem
ae - ter -
nam
nam
do - na,
do - na
do - na,
do - na
#_<a_
^_q_^
t==l=EEE:E=iE:
nem.
Re
Re
quiem
ae - ter -
nam
do - na,
do - na
quiem
ae - ter -
nam
do - na,
do - na
fj
is
Do - mi
- ne.
et
lux per-pe -tu-a,
et
lux per-
is
Do-mi-ne.
et
lux per-pe-tu-a,
et
lux per-
is
Do-mi-ne.
et
lux per-pe-tu-a,
et
lux per-
et
lux per-pe-tu-a,
ff
is
Do-mi-ne.
pe - tu - a
pe
tu-a
pe-tu
-a
lu - ce - at
lu
ce-at
lu - ce- at
e -
e -
per-
u.
e-
lux
et
is,
is,
is,
et
et
et
lux per
pe
- tu -
lux per
pe - tu - a
lux per
pe
- tu -
THE HYMNS.
68
Li-be-ra me, Do-mi-ne,
is.
is.
Li-be-ra me,
Do -
Li-be-ra me,
Domi-ne,
Li-be-ra me,
Domi-ne,
mi-tie,
mor-te ae - ter
na
in
di - e
il
- la tre-
li-be-rade
mor-te ae -
ter
na
in
di - e
il
- la Ire-
li-be-rade
mor-te ae
ter
na
in
di - e
il
- la tre-
if-6e-ra de
mor-te ae - ter
na
in
di
il
- la ire-
it
be -ret de
.P-
men
men
da,
da,
quando
coe -
li
mo-ven-di sunt
et
ter
quando
coe -
li
mo-vendi sunt
et
ter
quando
coe -
li
mo-ven-di sunt
et
~T
men
da,
quando
coe -
li
mo-ven-di sunt
ter
'
et
ter
-^r^.
69
THE HYMNS.
rtl^n
ra,
dum
ve-ne-ris
ju-di-ca-re
sae-cu-lum,
ju-di-ca-re
ra,
dum
ve-ne-ris
ju-di-ca-re
sae-cu-lum,
ju-di-ca-re
ro,
dum
ve-ne-ris
ju-di-ca-re
sae-cu-lum,
ju-di-ca-re
ra,
dum
ve-ne-ris
ju-di-ca-re
sae-cu-lum,
ju-di-ca-re
CHOEAL-MELODY
by
L. v.
BEETHOVEN,
sung over the Composer's grave,

March
29. -1828.
(The poetry by Franz Grillparzer.)
Poco Adagio.
Tenore l mo
-
Du,
dem
nie
im
Le
Du,
dem
nie
im
Le
ben
Ruhstatt
dole.
ben
Ruhstatt
Tenore 2 do
dole.
-S>-0Basso
1""
dole.
Du,
dem
nie
im
Le
ben
Ruhstatt
dole.
Du,
dem
nie
im
Le
ben
Ruhstatt
Basso 2d
Pianoforte.
dolc.l
<
71
THE HYMNS.
ward, und
&
Ruhe
Herd und Haus.
55
ward, und
Herd und Haus.
ward, und
Herd und Haus.
ward, und Herd
Ruhe
Ruhe
und Haus. Ruhe
nun im
nun
nun, ruhe
ira
Grab, ruhe
stil-len
Grab, ruhe
^te
F
nun im
To -de
still
aus,
im
PP
^=frjgE JÊE^ y^gEB^jgE

nun im
7^-fH
To -de
aus,
Gra-be
aus:
und wenn
:^g ==
im
stil-len
Gra-be
aus;
und wenn
im
stil-len
Gra-be
aus;
und wenn
Gra-be aus;
und wenn
<s>-
nun im
To -de,
PP
nun im
m^
To -de
aus,
still
im
THE HYMNS.
Freundes
Freundes
Klage,
*:
Klage
reicht
ii
- ber's
Grab hinaus
Klage
reicht
ii
- ber's
Grab hinaus,
horch eig'-nen Sangs
reicht
ii
- ber's
Grab hinaus,
reicht
ii
- ber's
-00Klage
Grab hin-aus
73
THE HYMNS.
oc
'siis-sem Klang,
halb
V ips^HEf
c
er-wacht im
stil
'
halb
siissem Klang,
S
"
er-wacht im
--
Haus.
len, slil-len
Haus.
stil-len
stil-len,
"
:sm nan
z&l
mÊ3Ê^S^=^^Ê^^^^^
-ae-
-4t
'
-y*
stis
sem Klang
siis-sem Klang,
(5^
(5^~
-f
-a^
halb
er-wacht im
slil
halb
er-wacht im
stil
'
-\
- len
Haus.
len, stil-len
Haus.
len,
stil
3=^^
dole.
man
Beethoven, Studies.
can
26
do.
(* :
EXPLANATION OF THE ENGRAVINGS.
1}
The house
at
Bonn
in
which
the Rhine-street. Another house
is
L. v.
doubt that the one shewn in the engraving

2)
An
Original sketch of the
,,
Beethoven wa's bora, situated in

but there is no
sometimes pointed out

is
the real one.
Adelaide," facsimile.
3) Facsimile of a letter in Beethoven's handwriting.
View of the house
4)
suburb of Vienna;
it
called the
was formerly
of the Wahringer-street
number
at
cross.
The house
now for some years been

very large and used to be inhabited
now a barrack , and there is a report
of different families;
it is
is
soon be pulled down. The room in which Beethoven died,

the window of which he often used to stand
is distinguished by a
current that
and
house, in the Alser
and another which has
called the Beethoven-street.
by
Schwarzspanier
a monastery, anji js situated at the corner
it
will
This being the only picture of the house extant,
it
will excite peculiar
interest.
5)
to
it
Copies of the medals struck in honour of Beethoven.
6) Beethoven's tomb in the churchyard of Wahring, near Vienna; close

is the grave, and simple monumental tablet, of the Composer Franz Schu-
bert, and also that of Goethe's only granddaughter,
died in her eighteenth year. Beethoven's tomb

butterfly, lyre,
semble a garden.
is
Alma von Goethe, who
of dark-grey marble
'the
gilt; an alder-tree covers the grave-stone, and

so thickly planted with flowers and shrubs as to re-
and name are
the burial-ground
is
CATALOGUE
OF THE COMPLETE
WORKS
OP
LUDWIG VAN BEETHOVEN,

WITH THE VARIOUS ARRANGEMENTS OF THE SAME
IN
AS PUBLISHED
GERMANY.
26
VAN BEETHOVEN'S WORKS,
L.
numbered from Op.
to Op. 138.
1.
Drel Trios (Esdur, Gdur, C moll), fiir Pianoforte, Violine u. Violent*.

(Dem Fiirsten Lichnowski gewidmet.) Dieselben in Partitur mil Slim men.
A r rang. Fiir das Pianoforte zu 4 Handen v. Fr. Schneider.
Op.
1.
Fiir
das Pianoforte allein

arr. v- Winkler.
v.
Lobe.
Ebenso
1-
Fiir 2 Violinen, 2
2-
3.
Ebenso (mil op.

Ebenso (rait op.
Trio No.
-
Op. 2.
Drel Sonateii
Bralschen und Violoncell.
87).
104).
(Fmoll, Adur, Cdur), fur das Pianoforte.
(I.
Haydn
gewidmet.)
Fiir 2 Violinen, Bratsche und Violoncell v. A. Brand.
das Pianoforte zu 4 Ha'nden v. /. F. Schwencke.
Adagio aus No. \ mit Worten (Die Klage Mein Gliick ist entflohen) unter-
Arrang.
Fiir
legt v. F.
W.
1
mit Worten (Sehnsucht v. Schillerj v. Silcher.
Adagio aus No. 2. mit Worten (Schau ich in's Auge ihr) v. Silcher.
Largo aus No. 2. fiir das Orchester v- Sey fried.
Adagio aus No. 3. fur das Orchester v. Seyfried.
Allegretto aus No. 3. mit Worten (Wiedersehen) v. Silcher.
Allegro aus No.
Op. 3-
Grosses Trio
Op. 4.
Quintet! (Esdur),
(Esdur), fur Violine, Bratsche und Violoucell. Dasselbe in Partitur.

Arrang. Fur Pianoforte und Violoncell (mit op. 64).
Fur das Pianoforte zu 4 Ha'nden v. Stegmann.
Fiir das Pianoforte zu 2 Ha'nden v. L. Winkler.
Die 2 Menuetten daraus fur das Pianoforte zu 4 Ha'nden.
fiir
2 Violinen
2 Bratschen und Violoncell. Dasselbe
in Partitur.
Arrang. Als Octett (Original)
fiir 2 Clarinetlen, 2 Oboen, 2 Horner, und 2

Fagotte.
(Oeuvre posthume.) SieheOp. 103.
Fiir das Pianoforte zu Handen v. /. P. Schmidt.
Ebenso
Fiir
Op. 5-
v.
Klage.
das Pianoforte
v. L.
Winkler.
Rondo darnach (Esdur)
fur das Pianoforte zu 4
Sonate darnach (Esdur)
fiir
Pianoforte, Violine
Handen v. Horr.
und Violoncell (m.
Zwel grosse Sonaten
cell
op. 63).
(Fdur, G moll) , fiir Pianoforte und Violon(oder Vloline). (Friedrich Wilhelm II., Kiinigvan Preussen gewidmet.)
Arrang.
Fiir
Fiir
Fiir 2 Violinen, Bratsche und 2 Violoncello

das Pianoforte zu 4 Handen.
t
das Pianoforte allein v. L. Winkler.
v. F. flies.
78
L. VAN
BEETHOVEN'S COMPOSITIONS.
Noitate
(Ddur), fiir das Pianoforte zu 4 Handen.

Flote (oder Violine) v. Burchard.
Fiir das Pianoforte allein v. L. Winkler.
Rondo daraus fur das Pianoforte allein.
Op. 6- Ijelelitc
A rrang.
und
Ftir Pianoforte
Op. 7. Ctrosse Senate (Esdur) , fiir das Pianoforte. (Babette dc Keglevics

gewidmet.)
A rrang. Largo daraus mil Worten (Tagwerk ist vollbracht) fur \ Singstimme
mit Begleitung des Pianoforte.
Op. 8.
Serenade
(Ddur),
f.
Violine, Bratsche u. Violonc. Dieselbe in Partitur.
und Bratsche v. Matiegka.

Violine (oder Flote) v. A. Brand.
Polonaise daraus fiir das Pianoforte zu 4 Handen.
Dieselbe fiir 2 Violinen.
Das Variationenthema als Lied v. C. P. mit Begleit. des Pianof. (Sanft wie
die Friihlingssonne strahlt.)
Das Trio der Menuett als Lied v. C. P. mit Begleit. des Pianof. (Gott Amor
A rrang.
Fiir Guitarre, Violine
Fiir Pianoforte
und
und Bacchus).
Op. 9. lire! Trios (Gdnr, Ddur, C moll), fur Violine, Bratsche und Violoncell.
(Dem Grafen von Browne gewidmet.) Dieselben in Partitur.
3 grosse Trios fiir Pianoforte, Violine und Violoncell (m. op.
das Pianoforte zu 4 Handen v. Stegmann.
Fur das Pianoforte allein v. L. Winkler.
3 Sonaten fiir das Pianoforte v. Heilmann.
No. \ als Sonate fiir Pianoforte und Violine.
No. ^. als Sonate fiir Pianoforte allein (m. op. 43).
No. 2. als Sonate fiir Pianoforte und Violine v. F. Rahles.
A rrang.
61.).
Fiir
Drel Sonaten. (C moll, Fdur, Ddur), fur das Pianoforte. (Der Gravon Browne gewidmet.)
Arrang. Fur das Pianoforte zu 4 Handen v. /. F. Schwencke.
No. 1 Fiir 2 Violinen, Bratsche und Violoncell v. A. Brand.
Adagio daraus fiir Violoncell und Pianoforte v. Burchard.
Adagio daraus als Lied (Das ist der Tag des Herrn) fur eine Singst. mit
Begleit. des Pianof. v. Hubner.
Agnus Dei darnach fiir Orchester und Singstimmen v. G. B. Bierey.
No. 2, Fiir 2 Violinen, Bratsche und Violoncell v. A. Brand.
No. 3. Fiir 2 Violinen, Bratsche und Violoncell v. F. Ries.
Largo daraus mit Worteu (Dein Auge weiss etc.) fiir
Singst. mit Begleit.
des Pianof.
Menuett daraus fur 2 Violinen, Bratsche und Violoncell.
Dieselbe fur 2 Violinen, Bratsche, Bass, Flote 2 Oboen (oder 2 Clarinetten),
Op. 10.
fln
-1
2 Hb'rner
und .Fagott
drosses Trio.
Op. 11.
Violoncell.
v.
Baldenecker.
(B dur), fur
Pianoforte
Glarinette (oder Violine)
und
(Der Grafin von Thum gewidmet.}

Arrang, Fiir 2 Violinen, 2 Bratschen und Violoncell.
Fiir das Pianoforte zu 4 Handen v- F. Schneider.
Fiir das Pianoforte allein v. /. C. Lobe.
Ebenso v. L. 'Winkler.
Op. 12.
Drei Sonaten
(Ddur, Adur, Esdur),
fiir
Pianoforte und Violine.
(F. A. Salieri gewidmet.}

Fiir 2 Violinen, Bratsche
Arrang-
Fiir Pianoforte
und
und Violoncell.
Flote v. L. Drouet.
Fur das Pianoforte zu
Handen.

Andante aus No. 2 mit Worteq (Mir bewahrt Dein Busen
Fiir
etc.) fiir
Singst.
L.
70
VAN
Andante aus No. 2 fiir d. Orch. v. Seyfried.

Rondo aus No. 2 ebenso von demselben.
Adagio aus No. 3 ebenso von demselben.
Op. 13. So 11 ate (pathetiqiie, C moll)
gewidmet.)
Arrang.
Fiir
fiir
das Pianoforte. (Dem Fursten Lichnowsky
neunstimmige Harmonic.
Fiir 2 Violinen, 2 Bratschen und Violoncell.

Fiir 2 Violinen, Bratsche und Violoncell v. Blumenthal.
Hartmann.
Fiir 2 Violinen v. F.
das Pianoforte zu 4 Ha'nden v. C. G. Lickl.

Ebenso v. Fr. Mockwitz.
Fiir das Pianoforte allein mit Applicatur v. C. Czerny.
Ebenso mit Fingersatz v. C.
Greulich.
Adagio daraus mit unterlegtem Text (Das Auge der Geliebten
Fiir
Op. 14-
Zwei Sonate it
(Edur, Gdur),
fiir
etc.) v.
SUcher.
das Pianoforte. (Dem Baron von
Braun gewidmet.)
das Pianoforte zu 4 Ha'nden.
2 Violinen, Bratsche und Violoncell.
2. Fiir 2 Violinen, Bratsche und Violoncell.
2. Fitr 2 Violinen v. F. Hartmann.
Allegretto aus No. \ fiir Orchester (zehhstimmig)
Arrang.
Fiir
No.
No.
No.
\. Fiir
v.
Baldenecker
Concert
(Cdur), fiir das Pianoforte mit Begl. des Orchesters.

Op. 15. Erstes
(Der Fiirstin Odescalchi, geb. Grtifin Keglevics gewidmet.) Dasselbe in Partitur.
Arrang. Fiir das Pianoforte mit Begleitung v. 2 Violinen, 2 Bratschen, Violoncell
und Bass.
Eiir das Pianoforte mit Begleitung von 2 Violinen
Bratsche und Violoncell.
Fiir 2 Pianoforte
Fiir das Pianoforte zu 4 Ha'nden v. 1. P. Schmidt.
Fiir das Pianoforte allein.
Largo daraus fiir das Pianoforte allein.
,
Op. 16.
Grouses Quintett
(Esdur),
fiir
Pianoforte, Oboe, Clariuette
Horn
und Kagott.
Arrang.
Fiir
das Pianoforte mit Begleitung von 2 Violinen, Bratsche und Violoncell.
Fiir 2 Violinen, Bratsche und Violoncell.

Fiir Pianoforte, Violine, Bratsche und Violoncell.
Fiir 2 Pianoforte von C. Czerny.
Fiir
das Pianoforte zu
Fiir Pianoforte
Fiir
Ha'nden.
und Physharmonica oder
v.
2 Pianofortes v. Lickl.
Winkler.
Op. 17- Sonate (Fdur), fiir Pianoforte und Horn (oder Violine, oder Bralselie,
oder Violoncell, oder Flote, oder Oboe, oder Clarinelte).
Arrang. Sinfonie cone, nach der Sonate op. 17 fiir 2 Violinen, Bratsche, Violoncell, Contrabass, Flote, 2 Clarinetten. 2 Fagotto
Fiir das Pianoforte zu 4 Ha'nden.
Ebenso
und
Horner
v. F. Ebers.
arr. v. Horrose'.
das Pianoforte allein.

Ebenso arr. v. L. Winkler.
Adagio und Rondo daraus fiir das Pianoforte.
Fiir
Op. 18- Seehs Quartette (F dur , G dur , D dur , C moll A dur , B dur) fiir 2
Violinen, Bratsche und Violoncell. (Der Fiirstin von Lobkowitz gewidmet.}
Dieselben in Partitur No. 1
6. 8. Dieselben in Partitur in einem Bande in p.'.
Arrang. Als grosse Sonaten fiir Pianoforte mit Violine und willkiihrlichcr Vio.
loncell -Begleitung (m. op. 60-)

Fiir
das Pianoforte zu
Ebenso
v.
C. Klage.
Ha'nden
v.
Mockwitz.
80
L. VAN
Fiir
v. L.
Winkler.
Theme fav. mil lOVar. ausdem Quartett No. 5 fiirdasPianofortezu4Hiinden.

Rondo aus No. 6 fur das Pianoforte zu 4 Ha'nden v. Horr.
Variationen iiber das Andante aus No. 5 fiir 2 Guitarren v. Schuster.
Senate fiir das Pianoforte wovon der zweite Satz aus No. 5 entnommen
La Malinconia aus No. 6 fiir das Pianoforte zu 4 Ha'nden.
Dieselbe fiir das Pianoforte zu 2 Handen.
ist.
Op. 19- Zweites Concert (Bdur) fiir das Pianoforte mil Begleitung des
Orchesters. (C. Nickl Edlem von Nickelsberg gewidmet.) Dasselbe in Partitur.
A r rang. Fiir das Pianoforte zu 4 Ha'nden v. X. Gleichauf.
,
Septett (Esdur), fur Violine, Bratsche, Horn, Clarinette, Fagott, Vloloncell Mini Contrabass. Dasselbe in Partitur.
Op. 20.
Arrang.
Fiir
Blasinstrumente (elfstimmig)
v.
Crusell.
Ebenso (neunstimmig).
Fur 2 Violinen, 2 Bratschen und Violoncell.
Fiir Flote, Violine, 2 Bratschen und Violoncell (in G-) v. /. Mahr.
Fiir Pianoforte, Violine, Bratsche und Violoncell v. SchwenckeFur Pianoforte rait Begleitung der Flbte, Violine und Violoncell v. /. N. Hummel.
Fur Pianoforte, Violine und Violoncell v. C. G. Belcke.
Fiir Pianoforte, Clarinette (oder Violine) und Violoncell vom Componisten arr.
und mil Op. 38 herausgegeben.
Fiir Pianoforte und Violine v. Gleichauf.
Fiir Pianoforte und Violoncell v. C. Burchard.
Fiir 2 Pianofortes zu 8 Handen v. G. M. Schmidt.
Fiir 2 Pianofortes oder Physharmoriica und Pianoforte.
Fiir das Pianoforte zu 4 Ha'nden v. C. Czerny.
Ebenso v. W. Marks.
Ebenso in * verschiednen Ausgaben.
Fur das Pianoforte allein v. C. Czerny.
Ebenso v. /. N. Hummel.
Ebenso v. Fr. Liszt.
Ebenso v. L. Winkler.
,
Aus dem Septett einzeln:

Menuett fiir das Pianoforte zu 4 Ha'nden v. C. Czerny.
Adagio cantabile fur das Pianoforte v. Fr. Liszt.
Andante mit Variationen fiir das Pinnoforle v. demselben.
Menuett und Scherzo fiir das Pianoforte v. demselben.
Menuett fiir das Pianoforte v. C. Czerny.
Lied nach der Menuett (Viel bildschdni Deandln gibts) fiir eine Singstimme
Menuett cavato fiir das Pianoforte.
Rondo fiir das Pianoforte v. Horr.

Variationen fiir das Pianoforte.
Variationen nach dem Andante fiir 2 Guitarren v. Schuster (m. Op. 3.)
Variationen daraus fiir Violine und Guilarre v. Diabelli.
Du nach dem Adagio fiir Gesang und Pianoforte , nebst eigner Dichtung
(Schuldlos wie Veilchenbliithe etc.) iibertragen v. Christern.
!
Op. 21.
Erste grosse Symphonic
fur das Orchester. Dieselbe
(C dur)
in Parlitur.
Fiir 2 Violinen, 2 Bratschen, 2 Oboen und 2 Hb'rner v. F. Ebers.
Arrang.

Fiir Pianoforte rn. Begleit. der Flote, Violine
Fiir Pianoforte
und
Fiir 2 Pianofortes
Fiir
Violine v. F.
zu
Handen
und
W.
Arnold.
v. G. M. Schmidt.
das Pianoforte zu 4 Ha'nden v. C. Czerny.
Violoncell v.
/.
N. Hummel.
L. VAN
Fiir
81
das Pianoforte zu
Handen
v. Zulehner.
Fur das Pianoforte allein v. Gelinek.

Ebenso v. /. N. Hummel.
Ebenso v. Fr. Kalkbrenner.
Ebenso v. L, Winkler.
Op. 22. Cirosse Senate (Bdurj, fiir das Pianoforte. (Dem Grafen von Browne
gewidmet.)
A r rang. Fur das Pianoforte zu 4 Ha'nden v. C. Czerny.
Op. 23.
Arra
Sonate (Amoll), fur Pianoforte und Violine.

ng. Fiir 2 Violinen, Bratsche und Violoncell v. Helnzius.
Fiir Violine, Bratsche und Violonceli v. A. Brand.
Ebenso arr. v. A. Uber.

Fur das Pianoforte zu 4 Handen.
Fur das Pianoforte zu 2 Handen v.
L. Winkler.
Senate
(Fdur), fur Pianoforte und Violine.

Arrang. Fiir 2 Violinen, Bratsche und Violoncell v. Heinziiis.
Fiir das Pianoforte zu 4 Ha'nden.
Op. 24.
Ebenso arr. v. Halm.

Fur das Pianoforte allein v. L. Winkler
Adagio daraus mit Worten (Eleonore)
fur eine
Singstimme mil Begleitung
des Pianoforte.
Serenade
(Ddur), fur Flote, Violine u. Bratsche. DieselbeinParlilur.

und Bratsche v. Matiegka.
Fiir Pianoforte und Flote Oder Violine vorn Componisten.
Fiir das Pianoforte zu 4 Handen.
Op. 25-
Arrang.
Fiir Guitarre, Violine
Ebenso
v. /. Moscheles.

Andante daraus mit Worlen (Du hist mir mehr als alles Gliick)
Singstimme mit Begleitung des Pianoforte.
Fiir
Op. 26. Grogse

gewidmet.)
Sonate
fiir
eine
(Asdur) fur das Pianoforte. (Dem Fiirsten Lichnowsky
Fiir 2 Violinen v. F. Hartmann.

das Pianoforte zn 4 Handen.
Andante daraus mit Worten (Schmiickt etc.) v. Silcher.
Dasselbe mit unterlegten Worten v. F. K. Griepenkerl. (Mit Adagio aus der
Cis moll Sonate Op. 27 No. 2.)
Dasselbe fiir 2 Violinen, Bratsche und Violoncell.
Dasselbe fur 2 Guilarren v. Carulli (Op. 155)
Arrang.
Fiir
Trauermarsch daraus:
Fiir
Orch ester.
das Pianoforte zu 4 Handen

v. /. P. Schmidt.
Fiir
v- F.
X. Chotek.
Ebenso
Ebenso
in
A moll.
Fiir die Guitarre v. S. Volker.
Lieblings-Variationen daraus fur das Pianoforte.

Das Variationenthema als Lied (Wo der Mond mit bleichem Schimmer) fiir
eine Singstimme mit Begleitung des Pianoforte v. Hiibner.
Dasselbe als Lied (Entfernt von der heimischen traulichen Flur) fiir eine
Dasselbe als Gesang (Aus dunkelm Laub) fiir eine Tenor und 2 Bassstimmen.
,
Zwei Sonaten
(Esdur, Cis moll), (beide zugenannt: Sonata quasi

fantasia) fur das Pianoforte. (Der Furstin Lichtenstein gewidmet.)
Arrang. Adagio aus No. 2 als Kyiie fiir Gesang und Orchester in Partitur v.
Op. 27'
una
G. B. Bierey.
Dasselbe als Kyrie eleison fur Gesang. Partitur und Stimmen.
L. VAN
8SJ
rait unterlegten Worten fiir Gesang und Pianoforte v. F. K. Griepenkerl. (Mit dem Andante aus Op. 26.)
Dasselbe als Duett fiir 2 Violinen v. F. Hartmann.
Allegretto aus No. 2. Fiir 2 Violinen, Bratsche und Violoncell.
Dasselbe
\. Fiir 2 Violinen, Bratsche und Violoncell.

aus No. \. Fiir 2 Violinen, Bratsche und Violoncell.
Adagio aus No. 2. Als Lied (Es zieht ein stiller Engel) fiir eine Singstimme
mit Begleitung des Pianoforte v. Hubner.
Andante aus No.
Allegro
(4.
Satz)
Op. 28. Grosse Sonate (Pastorale Ddur) , fiir das Pianoforte. (Joseph Edlem
von Sonnenfels gewidmet.)
Arrang. Fiir 2 Violinen, Bratsche und Violoncell v. G. B. Bierey (ra. Op. 14.)
Ebenso
v. F. Ries.
Fiir Violine,
Bratsche und Violoncell
v. A. Uber.
Quintet* (Cdur), fur 2 Violinen , 2 Bratscben und Violoncell.

Grafen von Fries gewidmet.) Dasselbe in Partitur. 8. In Partitur. 12.
Arrang. Fiir das Pianoforte zu 4 Handen v. X. Gleichauf.
Op. 29.
Ebenso v. C.Klage.
Ebenso v. /. P. Schmidt.
Ebenso das Rondo daraus
Fiir
v.
/.
v. L.
P. Schmidt.
Winkler.
Drei Sonaten (Adur, Cmoll, Gdurj,

(Dem Kaiser Alexander I. gewidmet.)
A rrang. Fur 2 Violinen, Bratsche und Violoncell v.
Fiir Pianoforte und Flote v. L. Drouet.
Op. 30.
Op. 31.
No.
No.
2 rait
P. G. Heinzius.
v. L.
Winkler.
Worten (Gruss der Seelenetc.) fiir Gesang und Pianoforte

Flote, Violine, 2 Bratschen und Violoncell (m. Op. 85.)
v. Silcher.
Drei Sonaten
(Gdur, 1) moll, Esdur), fiir das Pianoforte.

Violinen, Bratsche und Violoncell vora Componisten.
3. Fiir 2 Violinen, Bratsche und Violoncell v. F. hies.
1
Fiir Violine, Bratsche und Violoncell v. A. Uber.
2 und 3. Fiir 2 Violinen v. F. Harlmann.
Arrang. No.
No.
No.
No.
Fiir
1. Fiir 2
An
die Hoffinung (von

Op. 32. (No. 32.)
Op. 33.
fiir
Handen.
Fiir
3 fur
(Dem
Bagatellen
Arrang. No.
4.
(7
Tiedge)
fur eine Singslimine
fiir das Pianoforte.

Bratsche und Violoncell.
pieces),
Fiir 2 Violinen,
No. 6 Ebenso.
SeehB Variationen
fiber ein Origiiial-Tliema (Fdur),

fur das Pianoforte. (Der Furstin Odeschalchi gewidmet.)
Arran g. Das Thema fiir 2 Violinen, Bratsche und Violoncell.
Adagio mit Worten v. C. P. (Abschiedslied Des Schicksals ernste Ma'chte etc.)
Abschiedslied nach dem Thema (Des Schicksals ernste Ma'chte) fiir eine Singstimme mit Begleitung der Guitarre v. A. Diabelli.
Op. 34.
Op. 35.
Funfzehn Variationen mit einer Fuge
(Esdur), fur das
Pianoforte. (Dem Grafen Lichnowsky gewidmet.)
Op. 36-
Zweite Symphonic
(Ddur),f. d.Orchester. Dieselbc inParlilur.8.
2 Violinen, 2-Bratschen, Bass, 2 Oboen und 2 Hbrner v. F. Eber.

Fiir 2 Violinen 2 Bratschen
Violoncell (oblig.}, Contrabass, Flote und 2
Hdrner (ad lib.) v. F. Ries,
Arrang. Fur
Fur Pianoforte mit Violine, Flote und Violoncell v. /. N. Hummel.

Componisten.
Fiir Pianoforte, Violine und Violoncell vom

Fiir Pianoforte und Violine v. F. W. Arnold.
L.
VAN
85
Fur 2 Pianofortes zu 8 Handen v. E. Hoffmann.

Fur das Pianoforte zu 4 llaiulen v. C. Czerny.
Ebenso v. Enkhausen.
Ebenso (Bonn).
Fur das Pianoforte allein v. /. N. Hummel.
Ebenso v. Kalkbrenner.
Andante daraus mil unterlegten Worten (Frage von Kerner) v.
Larghetto daraus fiir Physharmonijca und Pianoforte v. Lickl.
Larghetto daraus als Menuett fiir Pianoforte.
Op. 37.
Drlttes Concert
(C moll), fur d. Pianoforte mil Begl. d. Orchesters.
(Dem Prinzen Louis Ferdinand von Preussen gewidmet.) Dasselbe

Arrang. Fiir das Pianoforte zu 4 Handen v. /. P. Schmidt.
Fiir

(Finale) daraus fiir das Pianoforte zu
Rondo
Op. 38.
Crosses Trio
Violoncell, nach dem

(Siehe Op. 20)
Silcher.
in Partitur.
Handen.
(Esdur), fur Pianoforte, Clarinette (oder Violine) und

Seplett Op. 20. arrangirt vom Componisten.
Zwei
Praliidien
Op. 39.
Pianoforte oder Orgel.
durch
alle 18
Dur-Tonarten
fiir
Romanze
(Gdur), fur die Violine mit Begleitung von 2 Violinen,

Flote , 2 Oboen , 2 Fagotte und Horn.
Arrang. Fiir die Violine mit Pianoforte.
Fiir das Pianoforte allein v. F. W. Eppner.
Op. 40.
Bratsclie
Bass
Serenade (D dur) fur Pianoforte und Flote (oder Violine) arrangirt

nach der Serenade Op. 25 vom Componisten.
Op. 41.
(Siehe Op. 25.)
Op. 42.
]Vottrno
Serenade Op.
(Siehe Op.
Op. 43.
(Ddur)", fiir Pianoforte
und
Bratsclie arrangirt
nach der
vom Componisten.
8.)

Fiir das Pianoforte allein v. Eppner.
Polonaise daraus fiir das Pianoforte zu 4 Handen.
Dieselbe fiir das Pianoforte allein.
Dieselbe fiir 2 Violinen.
Dieselbe fiir Guitarre und Flote oder Violine.
Arrang.
8.
Fiir
Die Geseliopfe des Prometheus
Ballet.
Bratsche und Violoncell v. Zulehner.

Quartett daraus fiir 2 Violinen, Bratsche und Violoncell.
Fiir Flote, Violine, Bratsche und Violoncell v. Zulehner.
Arrang.
Fiir 2 Violinen,
Fiir eine Flote.
Fiir Pianoforte
und
Violine v. Zulehner.

Ouvertiire allein fiir das Orchester.
Fiir
Fiir Pianoforte, Violine, Flote, und Violoncell v. /. N. Hummel.

Fiir Harfe und Pianoforte mit willkiihrlicher Begl. v. Violine und Violoncell.
Fiir Pianoforte
und
Violine.
zu 8 Handen v. G. M. Schmidt.
Fiir 2 Pianofortes zu 4 Handen v. C. Czerny.
Allegretto aus No. 6. fiir 2 Violinen, Bratsche und Violoncell.
No. 8. fiir das Pianoforte zu 4 Handen.
Siebe Op. 9.
Fiir 2 Pianofortes
84
L.
VAN
Vlerzelin Variationen
Op. 44.
(Esdur), fur Pianoforte, Violine und
Violoncell.
Drel srowse Margche
Op. 45.
(G
dur , Es dur ,
D dur)
fiir
das Pianoforte
zu 4 Handen.
Op. 46- Adelaide (Gedicht von Mat hi son , fiir eine Singslimme mit
Begleitung des Pianoforte.
Arrang. Mit deutschem, franzdsischem und italieiiischem Text fiir Sopran.
Ebenso fiir Alt oder Bariton.
Mit englischem Texte fiir Sopran oder Tenor oder Mezzo-Sopran oder Bariton
Mit deutschem und italienischem Texte und Begleitung der Guitarre
Mit franzosischem und ilalienischem Texte und Begleitung der Guitarre.
Mit deutschem, franzosischem und italienischem Texte und Begleitung des
Pianoforte und Horn oder Fagott oder Bassethorn oder Violoncell oder
Bratsche von Heuschkel.
I
Fur Violine solo
Ebenso
v.
Fiir Flote
/. /.
und
v. L. de St.
Lubin.
und Pianoforte
Fiir Violoncell
v. R. E.
Bockmuhl.
F. Dotzauer.
Pianoforte variirt.
und Violoncell.
und Flote.
Physharmonica und Pianoforte oder
Fiir Pianoforte
Fiir Pianoforte
*Fiir
Fur das Pianoforte zu 4 Ha'nden

Ebenso v. Horr.
Ebenso v. G. W. Marks.
Fiir
das Pianoforte
v. C.
fiir
2 Pianofortes v. Lickl.
Czerny.
allein v. Behrens.
Ebenso (im leichten Stil) v. S. Burkhardt.

Ebenso v. H. Cramer.
Ebenso v. C. Czerny.
Ebenso v. C. W. Ellissen.
Ebenso v. Horr.
Ebenso (in Notturnoform) v. Huttner.
Ebenso v. Kullack.
Ebenso (mit einer grossen Cadenz) v. Fr. Liszt.
Ebenso v. C. Voss. (Op. 51 No. 3.)
Ebenso v. Kullack, und erleichtert v. E. D. Wagner.
Ebenso v. R. Willmers.
Ebenso v. Zogbaum. (Op. 40.)
Senate
Op. 47.
(A.
dur), (Scritta
in
uno
slilo
'
molto concertanle, quasi come d'un Concerto),
Pianoforte und Violine. (R. Kreutzer gewidmet.)

Arrang. Fiir 2 Violinen, 2 Bratschen und Violoncell.
Fiir Pianoforte, Violine, Bratsche und Violoncell v. F. Hartmann.
Fiir das Pianoforte zu 4 Handen v. C. Czerny.
fiir
Ebenso.
das Pianoforte allein v. C. Czerny.
v. L. Winkler.
Die Variationen daraus fiir Pianoforte und Violine.
Dieselben fiir das Pianoforte allein.
Variationen fav. fiir das Pianoforte zu 4 Handen.
Andante daraus fur das Pianoforte (une pens6e).
Dasselbe fiir das Pianoforte zu 4 Handen.
Fiir
Ebenso
von
Gcllert fiir eine Singstimine mit Begleitung

Op. 48. Seeks IJeiBer
des Pianoforte.
Einzeln: No. \. 3.>4. 5. 6.
Arrang. No. 2. 4. 5. 6. fiir das Pianoforte v. Fr. Liszt.
No. 5. fiir 4 Mannerstimmen mit Orchester oder Pianoforte v. B. Damcke.
Op. 49.
JKwei lei elite Sonaten

Einzeln die Menuett aus No.
:
(Gmoll, Gdur), fur das Pianoforte.

2.
L.
VAN
85
Romance
(Fdur), fur die Violine mitBegl. von 2 Violinen, Bratsche,

Bass, Flo'te, 2 Oboen, 2 Ho'rnern und 2 Fagotten.
Arra ng. Fur das Pianoforte v. L. Winkler.
Op. 50.
Ebenso v. Joachim Raff.

Als Rondo brillant fur das Pianoforte zu 4 Ha'nden
Fur die Violine mit Begleitung des Pianoforte.
Op. 51.
Zwel Rondo's
r r a n g.
No.
2. Fiir
Czerny. (Op. 44).
(Cdur Gdur), fUr das Pianoforte.
Violine
und
Violoncell v. A. liber.
und
Lleder
Op. 52. Acht Gresangedes Pianoforte.
E n z e 1 n No. \ Mit Guitarre.
No. 1 Mit Pianoforte.
No. 2. Mit Pianoforte.
No. 3. Mit Pianoforte
Ne. 6. Mit Pianoforte.
No. 6. Mit Guitarre.
No. 6. Mit Guitarre arr. v. Sippel.
t
i
v. C.
fiir
eine Singstimme mit Begleitung
Op. 53.
drosse Senate
stein gewidmet.)
Arrang. Fiir das Pianoforte
Op. 54.
(Cdur),
zu
Soiiate
(No. 51. Fdur).
Hr
Symphonic
fiir
das Pianoforte. (Dem Grafenvon Wold-
Ha'nden
fiir
v. Succo.
das Pianoforte.
i tie
(Es dur) , (Sinfonia eroica composta per festeggiare
sowcnire d'un grand' uomo) , fiir das Orchester. (Dem Fursten von Lobkowitz
gewidmet.) Dieselbe in Partitur 8.
Arrang. Fiir 2 Violinen, Bratsche, Flote, 2 Clarinetten, 2 Horner und Contrabass
Op. 55.
il
v. -F. Ebers.
Fiir Flote, 2 Violinen , 2 Bratschen, Violoncell u. Contrabass v. G.
Fiir Pianoforte, Violine, Bratsche und Violoncell.
Fur Pianoforte, Violine, Flote und Violoncell

Fiir Pianoforte, Flote uud Violoncell.
Fiir 2 Pianofortes zu 8 Ha'nden v. E.
Fur das Pianoforte zu 4 Ha'nden

Ebenso v. A. E. Muller.
v.
/.
/.
Kcrner.
N. Hummel.
Hofmann.
v. C.
Czerny.
das Pianoforte allein v. /. 2V. Hummel.

Trauermarsch daraus fiir 2 Pianofortes oder Pianoforte und Orgel (oder
Fiir
Harmonium)
Derselbe fiir
Derselbe fur
Derselbe fiir
Siehe Op.
v. S.
Neukomm.
das Pianoforte v. Fr. Liszt.

das Pianoforte.
Physharmonica und Pianoforte
v. Lickl.
87.
Op. 56. Concert (Cdur), fiir Pianoforte, Violine und Violoncell mit Begleitung
des Orcheslers. Dasselbe in Partitur.
Arrang. Fiir das Pianoforte allein.
Polonaise daraus fiir das Pianoforte zu 4 Ha'nden.
Dieselbe fiir das Pianoforte allein.
86
L. VAN
Op. 57.
Grosse onate
(No. 54. appassionata, Fmoll),
fiir
das Pianoforte.
(Dem Grafen von Brunswick gewidmet.)

Arrang. Fur das Pianoforte zu 4 Handen.
Clara Wiek und Beethoven, Gedicht von Grillparzer, mitMotiven obiger
Sonate musikalisch gegeben fur eine Singstimme rait Begleitung des Pianoforte von /. Vesque von Puttlingen.
Andante daraus mit unterlegte'n Worten (An dieNacht) f. Sopran oder Tenor
v. Silcher.
Viertow Concert
(Gdur), fur das Pianoforte mit Begleitnng des

Op. 58Orchesters. (Dem Erzherzog Rudolph gewidmet.) ^Dassselbe in Parlitur.
Arrang. Fijr das Pianoforte allein.
Siehe Op. 31. 69.
Op. 59. Drei grosse Quartette (Fdur, Emoll, Cdur), fur 2 Violinen,
Bratsche und Violoncell. (Dem Fiirsten Rasoumoffsky gewidmet.) Dieselben in
Partitur 8. Dieselben in Partitur 16.
Arrang. Als Trio fur Pianoforte, Violine und Violoncell v. F. Hartmann.
Fiir das Pianoforte zu 4 Handen v. Stegmann.
Andante fav. aus No. 3. Fur 2 Guitarren v. Schuster. (Op. 5.)*
Sonate fiir das Pianoforte, \vovon der erste Satz dem Quartett.No. 3. ent-
nommen
ist.
Siehe Op. 69.

(Bdur) , fur das Orchester. (Dem Grafen von
Op. 60. Vierte
Oppersdorf gewidmet.) Dieselbe in Partitur.
Arrang. Fiir 2 Violinen, 2 Bratschen, und Violoncell.
Fiir Pianoforte m. Begl. von Violine
Flote und Violoncell v. I. N. Hummel.
Symphonic
Fiir 2 Pianofortes.
zu 8 Handen v. Dietrich.
das Pianoforte zu 4 Handen v. C. Czerny.
Ebenso v. F. Mockwitz.
Fiir 2 Pianofortes
Fiir
Ebenso
v.
Watts.
Fiir das Pianoforte allein v.
Ebenso
v. Fr.
N. Hummel.
/.
Kalkbrenner.
Siehe Op. 18.
Op. 61. Concert (Ddur), f. die Violine mit Begleitung des Orchesters. (Seinem
Freunde von Breuning gewidmet.) Dasselbe in Partitur.
Arrang. Fiir das Pianoforte mit Begleitung des Orchesters.
Fiir das Pianoforte zu 4 Handen v. X. Gleichauf.
Fur das Pianoforte allein.
Siehe Op. 9.
Op. 62-
Ouvertnre
ztir Tragtfdle
Coriolan
C moll
fiir
das Orche-
Hofsecretair von Collin gewidmet.) Dieselbe in Partitur.

Arrang. Fiir 2 Pianofortes zu 8 Handen v. G. M. Schmidt.
Fiir 2 Pianofortes v. C. Czerny.
(Dem
ster.
Op. 63.
Clrosse Sonate
dem
Op. 64. (No. 64.)
Siehe Op.
dem
f.
Pianoforte, Violine
und Violoncell nach
vom Componisten.
Grosse Sonate
Violoncells, nach
Op. 65.
(Esdiir)
Quintett Op. 4. arrangirt

Siehe Op. 4.
Trio Op.
3.
(Esdur), fur Pianoforte mit Begleitung des

arrangirt vom Componisten.
3.
Scene mid Arie
loser etc.), fiir
(italienisch und deutsch) , (,,Ah! per6do" Ha! treneine Sopranstimme mit Begleitung des Orchesters oder des
Pianoforte.
Mit Begleitung des Pianoforte (italienisch und deutsch).
Arrang.
Ebenso (deutsch).
L. VAN
Zwolf Variatioiien
Op. 66.
87
(Fdur),
Pianoforte und Violoncell (oder
fiir
Violine), (Ueber: ein Madchen oder Weihchen).

Arrang. Fiir das Pianoforte zu 4 Handen.
Symphonic
Fuiifte
(CnioII), f. d. Orchester. Dieselbe in Partitur.

Bratschen und Violoncell v. F. Ebers.
Fur Pianoforte mit Begl. von Flote, Violine und Violoncell v. /. N. Hummel.
Op. 67.
Arrang.
Fiir 2 Violinen, 2
Fiir Pianoforte, Violine Und willkunrliche Violoncell-Begleitung v.

Fiir Pianoforte und Violine v. /. Andr6.
Fiir Pianoforte
und
Fiir 2 Pianofortes
Violoncell v.
zu
Handen
/.
Andrti.
Andre.
/.
v. E.
Hofmann.
M. C. Eberwein.
Ebenso v. F. Ebers.
Ebenso v. Fr. Schneider.
Fur das Pianoforte allein v. /. N. Hummel.
Fiir 2 Pianofortes v.
Ebenso v. Fr. Liszt.

Andante daraus mit Worten (Ohnc dich was war' mein Leben !) fiir eine
Sopran- oder Tenorstimme mit Begleitung des Pianoforte v. Silcher.
,
Seehste
(Pastorale, Fdur), fiir das Orchester. Dieselbe in Partitur.
Arrang. Fiir 2 Violinen, 2 Bratschen und 2 Violoncells v. Fischer.
Fiir Pianoforte mit Begl. von FlOte, Violine und Violoncell v. /. N. Hummel.
"
v
Fiir Pianoforte, Violine und Violoncell v. C. G. Belcke.
Fiir Pianoforte mit Violine oder Flote.
Fiif 2 Pianofortes v. Eberwein.
Ebenso v. Watts.
Fiir das Pianoforte allein v. /. N. Hummel.
Symphonic
Op 68-
'
Ebenso
Sonate
Op. 69-
v. Fr. Liszt.
fiir
das Pianoforte daraus.
Grosse Sonate
(Adur),
f.
Pianoforte und Violoncell (oder Violine).
(Dem Baron von

>
Arrang.
Fiir
Gleichenstein gewidmet.)
Fiir Pianoforte und Violine.
das Pianoforte zu
Handen
v. /. P.
Schmidt.
Op. 70. SEwei Trios (Ddur, Esdur) , fiir Pianoforte , Violine und Violoncell.
(Der Grafin Marie von Erdody, geb. Grafin von Nissky gewidmet.)
Arrang. Fiir das Pianoforte zu 4 Hauden v. F. Mockwitz.
Ebenso
Op. 71.
v.
G. Reichardt.
(Esdur), fur 2 Clarinetten, 2 Homer und 2 Fagotte.

Pianoforte, Violine and Violoncell (oder Pianoforte, Clarinette
Sextett
Arrang. Fur
Wustrow.
Ebenso.
und
Fagott) v.
Fiir
Op. 72.
I -'
v.
X. Gleichauf.
on ore. Oper In zwei Akten.
(Erste
und zweite Bearbei-
tung). Vollstandiger Klavierauszug.
Leonore. Oper in zwei Akten. Klavierauszug (vergriffen)

Ouverture (No. 3.) und Gesange (wie oben) aus der Oper Fidelio (Leonore).
Arrang.
Klavierauszug. Neue Ausgabe (vergriffen).

Beethoven's Nachlass)
sler. Dieselbe in Partitur.
Erste Ouverture. (Cdur, m. Op. 138 aus
f.
das Orche-
88
L. VAN
Zvveite
Ou verture
fiir
(Cdur)
das Orchester. Dieselbe in Partitur.

Dritte Ouverture (Cdur),
fur das Orchester. Dieselbe in Partitur.

Bratschen und Violence!! v. C. G. Muller.
Fur das Pianoforte zu 8 Handen v. G. M. Schmidt.
Fiir 2 Violinen, 2
in zwei
Op. 72. Fldello (Leonore).
Klavierauszug. Dieselbe in Partilur.
A r rang. Fiir neunstimmige Harmoniemusik.
Fiir Flote, Violine, Bratsche und Violoncell.
Oper
Fiir Pianoforte
und
Akteii.
(Dritte Bearbeitung).
Violine (oder Flote) v. Grabeler.
Fur Pianoforte und Violine v. A. Brand.

Fiir das Pianoforte zu 4 Handen v. Ebers.
Fur das Pianoforte allein v. /. P. Schmidt.
Ebenso v. Moscheles.
Choix d'airs fiir 2 Flo' ten.
Ebenso fiir das Pianoforte v. Moscheles.

Auswahl beliebter Stiicke daraus fur das Pianoforte allein.
Sechs Favoritarien daraus fiir Flote (oder Violine) und Guitarre
Marsch daraus fiir das Pianoforte.
Potpourri daraus fiir das Pianoforte zu 4 Handen.
Dasselbe fiir das Pianoforte allein.
Textbuch zu der Oper.
Ouverture (oder vierte Ouverture zu Leonore Edur)
in.
f.
v. Dialelli.
d. Orchester. Dieselbe
Partitur.
Fur 2 Violinen,
2 Bratschen
und
Violoncell.

Fiir Pianoforte und Violine.
zu 8 Handen v. G. M. Schmidt.
Fiir 2 Pianofortes
.
Fiir
Fiir
Ffinftes Concert (Esdur), fiir das Pianoforte mil Begleitung des

Orchesters. (Dem Erzherzog Rudolph gewidmet.) Dasselbe in Partitur.
rran g. Fiir das Pianoforte zu 4 Handen v. X. Gleichauf.
Fiir das Pianoforte allein v. /. Moscheles.
Rondo daraus fiir das Pianoforte zu 4 Ha'nden.
Dasselbe fiir das Pianoforte allein.
Op. 73.
Op. 74.
(Es dur), fiir 2 Violinen, Bratsche und Violoncell. (Dem Fiirvon Lobkowitz gewidmet.) Dasselbe in Partitur.
Quartett
sten
Arrang.
Fiir Pianoforte, Violine
und
Violoncell v. C. G. Belcke.
/. P. Schmidt.
das Pianoforte zu 4 Ha'nden v.

Ebenso v. F. X. Gleichauf.
Fiir
Cesange von Coethe
fiir eine Singstinime mil Begleit.

Op. 75. Sechs
des Pianoforte. (Der Furstin von Kinsky geb. Grlifin von Kerpen gewidmet.)
Einzeln No. \.
No. 1 Mit Begleitung der Guitarre.
No. 2. 3. 4.
No. 4. Mit Begleitung der Guitarre.
No. 5. 6.
No. 5. 6. Mit Begleitung der Guitarre.
Siehe Op. 16.
.
Op. 76.
Variatioiieii
gewidmet.)
(D dur)
fur
das Pianoforte.
(Seinem Freunde Oliva
Fantasle
(Seinem Freunde
(Gmoll), fur das Pianoforte.

F. von Brunswick gewidmet.)
Op. 77-
Arr ang. Der
Schlusssatz als Lied (Rauschendes Bachlein)

mil Begleitung des Pianoforte v. Buhner.
,
Senate
Op. 78.
(Fis dur)
fur eine
dem Grafen
Singstimme
fur das Pianoforte. (Der Gra'ftn Th. von Brunswick

'*v*
gewidmet.)
Sonatlne
Fantasle
Op. 79.
89
L. VAN
(Gdur), fur das Pianoforte.
Op. 80.
(Cmoll), fiir Pianoforte , Chor und Orchester. (Dem Konig
Maximilian Joseph von Baiern gewidmet.) Dieselbe in Partitur.
A rrang. Fiir Pianoforte, Chor und Flote (oder Violine) zweite Violine, Bratsche
,
und
Ebenso
Bass.
rait Quartett.
und Chor.
Fiir Pianoforte
Fiir

Die Chorstimmen Sopran,
:
Op.
Alt,
Tenor und Bass.
Charakteristlgehe Sonate
81:'.
(Es dur), Les adieux, Pabsence
et le re-
das Pianoforte. (Dem Erzherzog Rudolph gewidmet.)

Arrang. Fiir das Orchester v. Bierey.
lour), fiir
b
Op. 81
Sextett
(Esdur)
Violinen, Bratsche, Violoncell und 2 obligate
fur
Homer. Dasselbe in Partitur.

A rrang. Fiir 2 Violinen, 2 Bratschen und
Ebenso
Violoncell.
in Partitur.
Fiir Pianoforte, Violine (oder Bratsche) und Violoncell (m.

das Pianoforte zu 4 Handen v. /. P. Schmidt.
Op.
83.).
Fiir
Ebenso
v. F.
X. Gleichauf.
Adagio daraus mil Worten (Hdrt vom Strand ein Vespersingen)

prane und 2 Basse ohne Begleitung.
und ein Duett
Op. 82. Vier Arietten

Begleitung des Pianoforte.
Einzeln No. 1. 2. 3. 4. 5.
Siehe Op. 44.
(italienisch
fiir
2 So-
und deutsch)
mil
Gesange von
CSoetlte fiir eine Singstimme mit Begleitung

Op. 83. Drei
des Pianoforte. (Der Furstin von Kinsky, geb. Grafin von Kerpen gewidmet.)
Einzeln No. \. 2. 3.
No. -1.2. Mit Begleitung der Guitarre.
No. 1. 3. Fiir das Pianoforte iibertragen v. Fr. Liszt.
Siehe Op. 81
.
Op. 84.
Ouverture und jEwisehenaltte zu Goethe's Egmont.
Partitur.
Arran
2 Violinen, Bratsche
g. Fiir
Fur Pianoforte und Violine
v.
und
Violoncell v. A. Brand.
A. Brand.

Zwischenakte (ohne Ouverture)
Fiir
v. V.
Worner.
das Orchester.
Dieselben fiir das Pianoforte allein (mit den beiden Gesangen).
Symphonic, Entr'act und ClSrchens Arie fiir das Pianoforte allein.
No.
und
4.
fiir
Einzeln.
Dieselben fiir das Pianoforte v. Fr. Liszt.

Die Declamation v. Mosengeil.
Ouverture allein fiir das Orchester in Partitur.
Dieselbe in Stimmen (20stimmig).
Ebenso
oder 13 stimmig)
Blasinstrumente (9stimmig).
fiir tiirkische Musik.
(44
Dieselbe
Dieselbe
Dieselbe
fiir
fiir
2 Violinen, Bratsche
Beethoven, Studies.
und
Violoncell.
27
90
L. VAN
Dieselbe fur das Pianoforte mil Begleitung von Violine

Moscheles.
Dieselbe fur 2 Pianofortes zu 8
Dieselbe fur 2 Pianofortes zu 4
Flote
und Violoncell
v. I.
Handen
v. G.
M. Schmidt.
Handen.
Dieselbe fur
Dieselbe fur das Pianoforte allcin.
Dieselbe v. Kullak.
am
Chrlstus
Oellierffe , Oratorlnm fiir Solo - und Chorslimmcn mil Orchester. Partitur. Orcheslerstimmen. Singstimmen compl.
Solostimmen. Ghorstimmen.
A r rang. Klavierauszug mit Text.
Fiir das Pianoforte zu 4 Handen v. E. F. Richter.
Op. 85.

Bratschen und Violoncell.
Siehe Op. 30.
Fiir
Fiir Flote, Violine, 2
Messe
Op. 86-
(SHymnen, Cdur),
fiir
Fiirsten von KinsJcy gewidmet.) Partitur.
A r rang.
Fiir
Klavierauszug mit Text.

Ebenso
v. C.
Ebenso
v. C.
v. F.
Singstimmen und Orchester. (Dem

Orchesterstimmen. Singstimmen.
X. Gleichauf.
Czerny.
Czerny.
Op. 87. Trio (Cdur), f. 2 Oboen u. englisclies Horn. Dasselbe in Partitur 16.
(m. Op. 55.)
Arrang. Fiir 2 Violinen und Bratsche (m. Op. 55.).
Fur Violine, Bratsche und Violoncell (m. Op. 29.).
Fur 2 Violinen und Bass (oder Fagott) (m. Op. 29.).
Fur 2 Floten und Bratsche (m. Op. 29.).
und Fagott (m. Op. 29.).

Als Senate fiir Pianoforte und Violine.
Fiir das Pianoforte zu 4 Handen v. F. X. Gleichauf.
Fiir 2 Clarinetten
Adagio daraus mit Worten (Schlafst du
lieb
Brautchen
etc.) fur 3
Sopran-
stimmen ohne Begleitung.

Siehe Op.
1.
No.
2.
Das Gliiek tier Freundschaft (Lebensgliick).
Op. 88.
(Vita feiice).
Polonaise
(Cdur), fiir das Pianoforte. (Dor Kaiserin von Russland

Elisabetha Alexiewna gewidmet.)
Op. 90. Sonate (Emoll), f. das Pianoforte. (Dem Grafen Lichnowsky gewidmet.)
Arrang. ErsterSatz daraus mit Worten (Wie rastlos unaufhaltsam) fur \ Sopranoder Tenorstimme mit Begleitung des Pianoforte v. Silcher.
Zweiter Satz daraus mit Worten (Die Schwalben sind fortgezogen) f. 1 Singstimme mit Begleitung des Pianoforte v. Hubner.
Op. 89-
die Schlaeht wel Ylitorla

Op. 91. Wellington'* Sleg,
fur das Orchester. (Dem Prinz-Regenten von England Georg August Friedrich
gewidmet.) Dieselbe in Partitur.
oder
Arrang. Fur Harmoniemusik
(9stimmig).

Fiir Pianoforte, Violine und Violoncell.
Fiir 2 Pianofortes.

Fiir
Op. 92.
das Pianoforte
Handen.
allein.
Slebente Symphonic
grafen M.
(Adur),
fiir
das Orchester. (Dem Reichs-
gewidmet.) Dieselbe in Partitur.

Arrang. Fiir Harmoniemusik (9stimmig).
Fiir Pianoforte, Violine, Flote und Violoncell v. /. N. Hummel.
v. Fries
L.
9i
VAN
Fur Pianoforte, Violine und Violoncell.

Fiir 2 Pianofortes.
Fiir
das Pianoforte zu
Ebenso
Ebenso
v. C.
Ebenso
Ebenso
v. I.
Handen.
Czerny.
v. Fr. Mockwitz.
N. Hummel.
v. Fr. Liszt.
Allegretto daraus
Physharmonica und Pianoforte
fiir
v. Lickl.
Dasselbe mil Worten (Wiegt inn hiniiber) fiir \ Sopran- oder Tenorstimme
mil Begleitung des Pianoforte v. Silcher.
Dasselbe ebenso (Hoch auf dem alten Thurme) fiir 1 Singstimrae mil Begleitung des Pianoforte v. Hiibner.
Mittelsatz aus demselben ebenso (Weste sauseln deinen Namen).
Achte Symphonle
Op. 93-
Arrang.
Fiir
Fiir
(Fdur),
fiir
das Orchester. Dieselbein Partitur.
Harmoniemusik (Qstimmig).
2 Violinen, 2 Bratschen und Violoncell.
Pianoforte, Violine und Violoncell.
Fiir
Fiir 2 Pianofortes.
Fiir
das Pianoforte zu
Ebenso
Handen.
v. C.
Czerny.
An
die
(aus Tiedge's Urania),
Op. 94.
Begleitung des Pianoforte). (Der Furstin von Kinsky
gewidmet)
Hoffnung
fiir
,
eine Singstimme mil
geb. Grafin
von Kerpen
(Fmoll), f. 2 Viol., Bratsche u. Violonc. (SeinemFreunde, dem

Hofsecretair Nic. Zmeskall von Domanovetz gewidmet.) Dasselbe in Partitur 16.
Arrang. Fiir das Pianoforte zu 4 Handen v. F. X. Gleichauf.
Quartett
Op. 95.
Op. 96- Senate (Gdur),

gewidmet.)
ArrangFiir
fiir
Pianoforte und Violine. (Dem Erzherzog Rudolph
Fiir 2 Violinen, Bratschfe
und
Violoncell.
Op. 97. Grosses Trio (Bdtir), fur Pianoforte, Violine und Violoncell. (Dem
Erzherzog Rudolph gewidmet.)
Arrang. Fiir das Pianoforte zu 4 Handen v. C. Czerny.
Rondo daraus fiir das Pianoforte zu 4 Handen.
Hymne nach Beethoven von Goethe (Wer darf ihn nennen etc.) zusammengefiigt und zur Bekranzung des Bonner Denkmals bei dessen feierlicher
Enthiillung am H. August 1845 dargebracht v. F. Schmidt. (Nach diesem
Trio arrangirt.)
Andante daraus fiir Physharmonica und Pianoforte v. Lickl.
Op. 98.
fiir
An
feme
die
Geliehte. (Ein Liederkreis von Al. Jeitteles),
eine Singstimme mil Begleitung des Pianoforte.
Der Mann von Wort.
Op. 99.
(Gedicht von F. A.
Op. 100.
Op. 102.
fur
Herkensteln.
Rupprecht),
Op. 101.
Kleinschmid),
fiir
(Ein Scliloss na'chst Baden). (Gedicht von I. P.

eine oder zwei Singstimmen mil Begleit. des Pianoforte.
Sonate (Adur)
Zwei Sonaten
,
Violine).
Arrang.
fiir
f.
(Der Freiin Dor. Ertmann gewidmet.)
d. Pianoforte.
(Gdur, Ddur) fiir Pianoforte und Violoncell (oder

(Der Griiftn Marie von Erdody, geb. Grafln von Nissky gewidmet.)
das Pianoforte zu 4 Handen v. C. Czerny.
,
Grosses Oetett
Op. 103.
2 Fagotte, nach
Siehe Op. 4.
dem
(Esdur), fur 2 Clarinettcn, 2 Oboen, 2Ho'rner und

Quintett Op. 4. arrangirt vom Componisten.
27*
92
L. VAN
Op. 104.
dem
2 Bratschen und Violoncell nach

(Cmoll), fiir 2 Violinen
3. arrangirt vom Coraponisten.
Quintet*
Trio Op.
Siehe Op.
1.
1.
No.
No.
3.
Op. 105.
Sechs varllrte
Op. 106.
Gresse Senate
Themen
(sehr leicht ausfiihrbarj fur das PiaBoforte allein, oder mil beliebiger Begleilung einer F16le oder Violine. (In
zwei Lieferungen)
,
das Pianoforte. (Hammer
fiir
(Bdur),
Clavier)
(Dem Erzherzog Rudolph, Cardinal und Furstbischof von Olmutz gewidmet.)

Arrang. Fiir das Pianoforte zu 4 Handen v. Ebers.
Adagio daraus mil Worten (Das Grab ist tief und stille) fiir eine Singstimme
mil Begleitung des Pianoforte
v.
Hiibner.
Op. 107- Zelin varllrte Tliemen,

gieilung einer Flote oder Violine. (In
fiir
fiinf
das Pianoforte mil beliebiger BeLieferungen).
Op. 108- Ffinfiindzwanzlg schottische Ueclei* (mil deutschem u.

englischem Text) , fiir eine Singstimme begleitet von Pianoforte, Violine u.
Violoncell obligat. (Dem Fursten A. H. Radziwill gewidmet vom Verleger.)
Arrang. 1. Heft (der \. Ausgabe. Enthiilt No. 22. 1. 2. 3. 4. 5. 6. 7. der gegenTenor und Bass mil
wartigen) dreistimmig fiir Alt (oder Mezzo-Sopran)
,
willkuhrlicher Pianofortebegleitung
Op. 109-
Senate
v. luttus
Becker.
(Edur), fur das Pianoforte. (Dem Frautein Maximiliana Bren-
tano gewidmet}
Op. 111.
Senate (Asdnr),
Senate (Cmoll),
Op. 112.
Heeresstille
Op. 110.
von Goethe),
fiir
ser der Gedichte,
fiir
das Pianoforte.
das Pianoforte. (Dem Erzherzog Rudolph gewidmet.)
f.
und
glucbliche Fahrt. (Gedicht von I. W.

4 Singstimmen mit Begleitung des Orchesters. (Dem Verfasdem
unsterblichen Goethe gewidmet.)
Dieselbe in Partitur,
Klavierauszug und Singstimmen.

Siehe Op. <*9.
Die Ruinen von A then. Ein Fest- u. Nachspiel mit Choren

und Gesangen zur Eroffnung des Theaters in Peslh im Jahre 1812 verfasst
von A. v. Kotzebue. (Dem Konig Friedrich Wilhelm IV. von Preussen gewidmet
Op. 113. 114-
von den Verlegern.} Partitur. Ouver. in Partitur. (Op.

113.)
Orchesterstimmen.
Arrang.
Feierlicher Marsch und Chor

Orchesterstimmen
Fiir das Pianoforte zu
(No.
6.) in
Partitur. (Op. 414.)
Handen
(Feierlicher
Einzugsmarsch,
aufgefiihrt in
dem
Gelegenheitsgedicht: ,,Die Weihe desHauses," bei Eroffnung des

neuen Theaters in der Josephstadt zu Wien. Op. 114.)
Derwisch-Chor fur das Pianoforte zu 4 Handen.
Op. 115. Gresse Ouverture (Namensfeier) (Cdur) , fiir das Orchester. (Dem
Fursten A. H. Radziwill gewidmet.) Dieselbe in Partitur.
Fur das Pianoforte allein von demselben.
1
Op. 116- Terzett, (Tremate, empi, tremate!) fiir Soprun

gleilung des Orchesters. Klavierauszug.
Tenor und Bass mit Be-
Op. 117. Oiiverture zu Koniar fite|lian(Esdur;, (geschrieben zur Eroffnung des Theaters in Pesth) fur das Orchester. Dieselbe in Partitur.
Arrang. Fiir das Pianoforte zu 4 Handen v. C. A. v. Winkhler.
Triumphmarsch aus der Oper Konig Stephan fiir das Pianoforte zu
4
Handen
v.
A. v. Winkhler.
L.
VAN
95
Gesang fiir 4 Singstimmen mil Begleitung von 2 Viound Violoncell Oder des Pianoforte. (Seinem Freunde lohann
Elegisclier
Op. 118-
linen, Bralsche
Freiherrn von Pasqualali gewidmet.)
Zwolf'neue Bagatellen fur das Pianoforte.

38 Yeranderungeii (iiber einen Walzer von Diabelli,
Op. 119.
Cdur), fur
das Pianoforte. (Antonie von Brentano geb. Edlen von Birkenstock gewidmet.)
Op. 120.
Op. 121
Adagio, Variationen und Rondo
(Gdur)
(Ueber: ich bin
der Schneider Kakadu).
Opferlied (von Friedrich von Matthison) fiir eine Singstimme mit

Chor und Orchesterbegleilnng. Dasselbe in Partilur.
Arrang. Klavierauszug und Stimmen.
Op. \'2V
Siehe Op. 128.
Bundeslied
(von I. W. v. Goethe), fur 2 Solo- und 3 Chorstimmen

mit Begleilung von 2 Clarinetten, 2 Hornern und 2 Fagolten. Dasselbe in
Op. 122.
Partilur. Orchesterstimmen.
Arrang. Klavierauszug und Stimmen.

Op. 123-
Ulesse.
(Missa solennis),
(Ddur),
ster mit beigefugter Orgelbegleitung.
4 Solostimmen Chor und Orche(Dem Cardinal und Erzbischof von 01-
fiir
mutz Erzherzog Rudolph lohann gewidmet., Dieselbe in Partilnr. Klavierauszug. Singstimmen complet. Chorstimmen. Eine kurze erklarende Beschreibung iiber die Messe.
1
Festouverture
(Weihe des Hauses) (C dur) , fiir das Orchester.

Fiirsten Nicolaus von Galitzin gewidmet.) Dieselbe in Partitur.
rrang. Fiir Pianoforte und Violine v. A. Brand.
Op. 124.
(Dem
Fur 2 Pianofortes zu 8 Handen.

Ebenso v. G. M. Schmidt.
Ebenso v. C. W. Henning.
Fur das Pianoforte allein v. C. Czerny.
mit Schlusschor iiber Schiller's Ode

Op. 125. IVeunte
,,An die Freude" (Dmoll), fiir das Orchester, 4 Solo- und 4 Chorstimmen.
(Dem Konig Friedrich Wilhelm III. v. Preussen gewidmet.) Dieselbe in Partitur.
Fiir das Pianoforte allein. Erster Theil von Fr. Kalkbrenner. Zweiler Theil
Symphonic
(Finale) v. Esser.
Schlusschor 1m Klavierauszuge
Einzelne Chorstimmen.
Op. 126-
v. Rink.
Seehs Bagatelleii fiir

Quartet* (Esdur), fur 2
das Pianoforte.
Violinen, Bralsche und Violoncell. (Dem

Furslen Nicolaus von Galitzin gewidmet.) Dasselbe in Partitur.
Arrang. Fiir das Pianoforte zu 4 Handen v. Rummel
Nach dem Adagio hieraus Beethoven's Heimgang: ,.Es wand sein Geist sich
von des Staubes Banden los ," fiir eine Sopranstimme mit Begleitung des
Op. 127.
Pianoforte.
Op. 128-
allein),
Arrang.
Op. 129.
HUBS.
Ariette (Gedicht von Weisse), (Ich war

fur eine Singstimme mit Begleitung des Pianoforte.
Fiir eine Singstimme mit Begleitung der Guitarre.
Dei"
Rondo a eapriccio
(Gdur),
f.
d. Pianof.
(Aus
bei
dem
Chioen ganz
Nachlasse.)
Op. 130.. Quartett (Bdur), fur 1 Violinen, Bratsche und Violoncell.

Fiirsten Nicolaus von Galilzin gewidmet.) Dasselbe in Partitur.
(Dem
94
L.
Op. 131.
Quartett
VAN
(Cismoll),
fiir
2 Violinen, Bratsche und Violoncell.
Baron von Stutterheim gewidmet.) Dasselbe
(Dem
in Partitur.
Quartett (Amoll), f. 2 Violinen, Bralsche u. Violonc. (Dem Fursten

Nicolaus von Galitzin gewidmet.) (Aus dein Naclilasse). Dasselbe in Partitur.
r rang. Fiir das Pianoforte zu 4 Handen v. A. B. Marx.
Op. 132.
Grosse Fllge
Op. 133Bratsche
11.
Violoncell.
(tanl&l libre
tantot recherch6e)
(Bdur),
fiir
2 Violinen,
(Dem Cardinal Erzherzog Rudolph gewidmet.) Dieselbe
in Partitur.
Siehe Op. 134.
Op. 134.
CSrosse
Fuê
(um6t
libre, tantot recherchee),
(B dur), fiir (las Pianoforte
zu 4 H8nden, nach der Fuge Op. 133. arrangirt vora Componisten.

Op. 135. Quartett (Fdur), fiir 2 Violinen, Bratscbe und Violoncell. (Seinem
Freunde lohann Wolfmeier gewidmet.) (Aus d. Nachlasse). Dasselbe in Partitur.
ng. Fiir das Pianoforte zu 4 Handen v. A. B. Marx.
Arra
Der
glorreiclie Augenblick* Cantate
fgedichtet von Dr.

4 Singstimmen und Orchester. Am Wiener Congresse 1814 zum ersten Male aufgefiihrt. (Dem Kaiser von Oesterreich Franz f.,
dem Kaiser von Russland Nicolaus I. und dem Konig von Preussen Friedrich
Op. 136-
A I. Weissenbach)
fiir
gewidmet von dem Verleger.) Partitur.

Mil anderem Texte auch unter dem Titel
Preis der Tonkunst. Cantate (gedichtet von Fr. Rochlitz), fiir
4 Singstimmen u. Orcliesler. Partitur. In einzelnen Gesang- und Orchesterstimmen. Im vollstandigen Klavierauszuge. Die Singstimmen hierzu apart.
A r rang. Fiir das Pianoforte zu 4 Handen v. C Czerny.
Wilhelm
III.
Fiir
v. C.
Czerny.
Op. 137.
Fuge
Op. 138-
Oiiverture zur Oper Leonore
(Ddur), fur 2 Violinen, 2 Bratschen, und Violoncell. (Componirt

am 28. Novbr. 1817).
Componirt im Jahre 1805).
Siehe Op. 72. Ouverture No.
4.
(C durj
(Aus
dem Nachlasse.
MISCELLANEOUS AND POSTHUMOUS WORKS.
A.
Fur das Orcnester.
Allegretto (Esdur). (Beethoven's Freunde Ch. Holz gewidmet von den Verlegern.) (Aus
dem Nachlasse nach der
Original-Partitur.)
Triumphmarsch aus dem Trauerspiel Tarpeja (Cdur).

A r r a n g. Fiir das Pianoforte zu 2 Handen.
Ebenso zu
Handen.
18.
Fur Streichinstrumente.
Andante favori (Fdur), fiir 2 Violinen, Bratsche und Violoncell.

A rra ng. Fur das Pianoforte allein.
Lied darnach (Diesen Frieden diese Wonne) fiir eine Sopran- oder Tenor,
sliinmo mil Begleitung des Pianoforte v. Silcher.
C. Fiir
Blaslnstrumente.
Rondino (Esdur), fur 1 Oboen, 2 Clarinetten
2 Fagotte und 2 Ho'rner. (Aus
dem
Nachlasse.)
Arrang.
Fiir

Drei DUOS (Cdur, Fdur, Bdur),
fiir
Clarinette und Fagott.
D. Fur das Pianoforte mit

1.
und
Fiir das Pianoforte mit
oline Begleitung.
Or Chester,
Quartette, Trios.
Rondo (Bdur). mit Begleitung des Orchesters. (Aus dem Nachlasse).
Arrang. Fiir das Pianoforte m. Begleitung von 2 Violinen, Bratsche
Fur das Pianoforte
u. Violdncell.
allein.
Drei Original-Quartette (Esdur, Ddur, Cdur), (Aus

dem
Nachlasse).
Kleines Trio in einera Satze (Bdur) , fur Pianoforte, Violine und Violoncell (1812
componirt.) (Seiner kleinen Freundin M. B. gewidmet.)
Trio (Esdur),
fiir
Pianoforte, Violine und Violoncell. (Aus
2. Fiir Pianoforte
Rondo (Gdur),
fiir
dem
Nachlasse.)
und Violine (oder Violoncell).
96
L.
VAN
Zwb'lf Variationen (Fdur), f. Pianoforte u. Violine. (Thema aus der Oper Figaro:
Se vuol ballare). (Eleonore von Breuning gewidmet.)
Zwolf Variationen (Gdur), fur Pianoforte und Violine (oder Violoncell). (Thema
aus dem Oratorium Judas Maccabeus).
Ar rang. Fiir das Pianoforte zu 4 Handen.
Sieben Variationen (Es dur), fiir Pianoforte und Violine (oder Violoncell). (Thema
aus der Oper: Die Zauberflote: Bei Ma'nnern, welche Liebe fiihlen.)
:
3.
Sechs Variationen (Lied mit Vera'nderungen ich denke dein) (Ddur), (Geschrieben im
Jahre 1800 in das Stammbuch der Grafinnen Josephine Deym und Therese Brunswick und beiden gewidmet.)
:
vom Grafen von Waldsteiu), (Cdur).

4. Fiir das Pianoforte allcin.
Sonaten, Rondos, Pra'ludien, Vari a tionen
Variationen (Thema
a)
etc.
Drei Sonaten (Esdur, Fmoll, Ddur), (componirt im 10. Lebensjahre). (Dem Cardinal und Furstbischof von Olmiitz, Erzherzog Rudolph gewidmet vom Verleger.)
Leichte Sonate (C dur), (Eleonore von Breuning gewidmet.)
Zwei leichte Sonatinen (Gdur, Fdur).
Rondo
(A dur).
Praeludium (Fmoll).
Derniere pensee musicale (Bdur).
Neun Variationen (Cmoll), (Marsch v. Dressier. Componirt im 10. Lebensjahre).

Neun Variationen (Adnr), (Thema aus der Oper: Die Miillerin Quant' e piii bello.
Hat der Miiller). (Dem Fursten Carl von Lichnowsky gewidmet.)
:
Sechs Variationen (G dur), (Thema aus der Oper

sento. Mich (liehen alle Freuden).
die Miillerin
Nel cor piu non mi
Zwolf Variationen (Cdur), (Menuet a la Vigano).

Zwolf Variationen (A dur), (Thema: Danse russe, dansee par M" Cassentini aus
dem Ballet: das Waldma'dchen), (Der Graftn von Browne geb. von Vietinghoff
,
gewidmet.)
Acht Variationen (Cdur), (Thema aus der Oper: Richard Lowenherz: Une Hevre
brulante. Mich brennt ein heisses Fieber.)
Zehn Variationen (Bdur), (Thema aus der Oper
Falstaff,
von Salieri
La
stessa, la
slessissima.)
Sieben Variationen (Fdur), (Thema aus der Oper

ruhig schlafen).
das Opferfest
Kind
willst
du
Acht Variationen (Fdur), (Ta'ndeln und scherzen).

Dreizehn Variationen (A dur), (Thema aus der Oper: Das rothe KSppchen
einmal ein alter Mann).
Sechs Variationen (sehr leicht, Gdur).
Es war
Als Lied f. eine Singstimme mit Begleitung des Pianoforte (Holde Liebe,
deine Freuden).
Dasselbe mit Begleitung der Guitarre.
Arrang.
Sechs leichte Variationen
(Air suisse),
Vierundzwanzig Variationen
(Vieni
Grafin von Girodin gewidmet.)
(Fdur), fur Pianoforte oder Harfe.

Amore), (Ddur.)
(Der Grafin vonHatzfeld, geb.
97
L. VAN
Sieben Variationen (God save the King) (Cdur).

Ffinf Variationen (Rule Britannia) (Ddur).
Zweinnddreissig Variationen (Cmoll).

(Ich hab' ein kleines Hiitlchen nur) (Bdur).
Acht Variationen
TSnze und Marsche.
b)
Sechs landlerische Tanze.

Arrang. In der Collection complete des Valses origin, r^cueillies et arrang. par
13.
C. Czerny. No. 8
Sieben landlerische Tanze.
Arrang. In der Collection complete des Valses
7.
Czerny. No. \
Zwolf deutsche Tanze, welche

fiihrt worden.
in
dem
orig. recueillies et arrang.
K. K. kleinen Redoutensaal in
par C.
Wien aufge-
Dieselben urspriinglich fiir 2 Violinen und Bass unter dem Titel Allela Redoute de Vienne.
Dieselben in der Collection complete des Valses orig. recueillies et arrang.
Arrang.
mandes de
C. Czerny.
par
No.
-1
35.
Sechs Contretanze.
Arrang.
Fiir 2 Violinen
und
Bass.
Menuett (Esdur).
Sechs Menuett en.
Zwolf Mennetten, welche

worden.
Arrang.
Fiir 2 Violinen
in
dem
K. K. kleinen Redoutensaal in
Wien
aufgefiihrt
und Bass.
Militairmarsch. (Aus dem Nachlasse).

Arrang. Fur das Pianoforte zu 4 Handen.
E.
Gesange und Ueder mit und oline Regleitung.

1.
Canon
fiir
Mehrstimmige Gcsange.
Sopran, Alt, Tenor und Bass.
Gesang der Mb'nche aus

Schlussgesang aus
Schiller's
rieht), fiir eine
2.
Die Ehrenpforten, (Die gute Nach-
Singstimme und Chor mit Begleitung des Pianoforte.
Einstimmigc Gcsange und Licdcr.
Der Abschied (La partenza),
fiir
Andenken (von Matthison),
Arrang.
Wilhelm Tell fur 2 Tenore und einen Bass.
dem patriotischen Singspiel
eine Singstimme mit Begleitung des Pianoforte.

Mit Begleitung der Guitarre.
fiir
Empfindnngen bei Lydien's Untreue (Gedicht nach dem Franzosischen) fur eine
Gedenke mein f. eine Singstimme m. Begl. des Pianoforte. (Aus dem Nachlasse).
,
Sechs deutsche Gedichte ans Reissig's Blu'mchen der Einsamkeit fiir eine Singstimme mit Begleitung des Pianoforte.
Arrang. No. \ In einem Hefte mit Gyrowetz und Seyfried. (3 Gedichte aus Reissig's Bliimchen der Einsamkeit.)
No. 3 und 6. zusammen.
No. 3. In einem Hefte mit Giuliani, Moscheles, Reichardt, Kanne und Hummel. (Der Jiingling in der Fremde in 6 Strophen.)
No. 2. Mit Begleitung der Guitarre.
No. 3. 6. Ebenso.
,
98
L. VAN
Drei Gesange fiir eine Singstimme mil Begleitung des Pianoforte.

Arrang. No. 2. 3. (Mil Resignation).
No.
No.
No.
Einzeln.
Mil Guitarre.
2. 3. Mil Guitarre (zusammen mil Resignation
3.
1. 2. 3.
und Abendlied).
Ich liebe diCh, fiir eine Singstimme mil Begleitung des Pianoforte.
Arrang. Mit Begleitung der Guitarre.
Lied aus der
Feme,
fiir
eine Singstimme raft Begleitung des Pianoforte.

Zwei Lieder
Arrang. No. 1. (Zusammen mit: Das Geheimniss. So oder So.
dichte Heft 2.)
No. 2. In derselben Samml. Heft 4.
fiir
Der
deutscbe Ge-
fiir eine Solostimme und Clior mit Begleitung des Pianoforte.

Dasselbe unter dem Titel
Maurerfragen ,,Was, was ist des Maurers
Ziel?" fiir eine Singstimme mit Begleitung des Pianoforte. Bin Lied fiir
die Loge d. F. c. a TO. d. Bonn, mit unterlegten Worten v.
er.
freie
Mann,
Arrang.
vom
stillen Auge, fiir eine Singstimme rait Begleit. des Pianoforte.

(Geschrieben in das Album der baierischen Hofsangerin Regina Lang.)
dass ich dir
Opferlied fur eine Singstimme mit Begleitung des Pianoforte.

Vergl. Op. 421.
Die Sehnsucht von I. W. von Goethe.

Seufzer eines Ungeliebten von 6. A. Burger und die laute Rlage von Herder, fur
eine Singstimme mit Begleitung des Pianoforte. (Aus dem Nachlasse nach
dem Originalmanuscriptj.
Trinklied,
fiir
Der Wachtelschlag,
fiir
PRINTED BY BREITKOPF AND HARTEL
LEIPSIC.
The lions e atB oiui in which L

sitnatecl
in the
.Y.
TPuKine
B e e fhovetiwas Lorn
s
tree
i<m(t
WJCIPCB
1L
.~
8 ihpmdk: inn
cri)l
BEETHOVEN'S TOMB
the chnrcliyA'rd
of Wa.ehrinfi; .near
7
inaugurated
the
10ê August 1&4-5.
DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET
PLEASE
UNIVERSITY OF
TORONTO
LIBRARY
Beethoven, Ludwig van

Louis van Beethoven's
studies in thorough-bass
Pines Bridge
Road
Ossinina. N.Y. 10SA-5

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3

STUDIES IN THOROUGH-BASS, COUNTERPOINT AND THE

FROM THE AUTOGRAPH POSTHUMOUS MANUSCRIPTS

IGNATIUS VON SEYFRIED;

HENRY HUGH PIERSON.

WITH BEETHOVEN'S PORTRAIT, AND OTHER ILLUSTRATIVE PLATES.

SCHUBERTH AND COMP.

HAMBURGH AND NEW-YORK.

work, published soon

the following introductory

remarks by the Chevalier Ignatius von Seyfried, a friend of

These studies of the immortal Composer are a legacy of

was found among

here and there have

have therefore pre-

form, with the utmost conscientious-

posthumous papers; only

These studies are not

B's marginal notes are retained.

be regarded as a complete systematic

but rather as possessing peculiar interest

and conciseness, and as being the actual course

through with Albrechtsberger

evident diligence, less remarkable than might have been ex-

his compositions see the ,,Libera", p. 63.

audacity of his genius

which prompted him

pedantry and old-fashioned prohibitions. His creative

beyond the prejudices of

enlarge the boundaries of his art, and pla-

collateral interest attached to

they are of great intrinsic

young musicians who desire

Feeling that this

yielded to the solicitations of the Publishers,

and re-editing it; to the

and undertook the task of

to get at the kernel

breaking the shell.

satisfactory sketches of his

America, that a work

public; twenty-five years ago

would have been confined

so universally cultivated in England, and

making such rapid progress

musicians and a few

rari nantes in gurgite vasto

a blessing for both these great nations that the barbarism

of that divinest Art!

HENRY HUGH PIERSON.

OF THE FIRST PART.

Entire system of Chords

Chords of suspension with one interval

species of simple three-part counterpoint

Third species of the same

Fourth species of the same

simple four-part counterpoint

Third species of the same

Fourth species of the same

Second species of the same

Fifth species of the

of the free style of contrapuntal composition

ESSAY ON THE FUGUE.

The two-part fugue

Beethoven's Studies

Beethoven's Studies