Concerto No. 2 in Bb Major Op.19 Allegro con brio. QLM.d= 188; ave,to Czerny,(1) ¢ = 1529 Tutti VL —, VLE Concerto. (Pte. or IL.) p— HWind [tutti Sistti @ ae faa —s> iid i ag, gt . a tf (A) Carl Czerny: “Die Kunst des Vortrags der ailtern und neuern Claviercompositionen” [The Art of Interpret- ing Early and Modern Compositions for the Pianoforte}, Supplement to the Great Pianoforte- Method. op, 800,— Is not the “5 in “152” an engravers mistake? "(2) Flute, 2 Oboes, 2 Bassoons, @ Horns in Bb, and String-quartet (quintet).— In arranging the orchestral part of this Concerto, the editor thought it best to place ease of execution above completeness of harmony. (2) Here we follow, with regard to the bass, the reading of the original bass part BRE=ee eee which has also been adopted in the printed scores ([Breitkopf & Hartel; Peters).— In the Autograph, this is changed, by a later correction, to SSE 1141vo Bae Fa. * 77 “of () The of belongs, according to the Autograph, to this syncopation, not to the preceding one. 1142ff. . Solo ofa fetal ite. D (Pite. 1Da Originally | 11 4 4 (The bass- notes in the Tutti, as usual, with large heads; expression marks of same size both for Tutti and Solo.)1145PP — perese. vit. (1) iid (®) Sur and <= are wanting in the Autograph here and in the parallel passage on p. 19. (Were they cross- ed out the first time? Quite illegible.) The slur is also omitted in both passages in the original violin - parts Hoffmeister’s pianoforte-part gives, in this place, $6] ; in the parallel passage, no sign whatever.(Bassoon J has, in the original part, only staccato-dots without a slur; in the Autograph, no sign at all.) 1146Fr () Originany: Geez FE ete, Trill with lower appoggiatura. Played: GSEEEEEES etc. (2) p in analogy to the parallel passage on p. 20. 11471148isiete Ssdecrese, (4) In the bass (by mistake?) originally SS 115011521153o omen = 1154Wind Wind? 5 7 . Bese 2135.4 1) “Senza sordino”, with pedal; “con soraino”, without pedal (#).— It is best, with oor modern pianos, to take the pedal anew with cach measure, and to release it during the scale. a 11561157@) The flute has in the Avtograph only BEG the original part, dots); the ist violin adds ——<— Compare the parallel passage, p. 7. 1158(waeist 1) Tutti i Sol i ne Tutti solo Tutti A sti ort It i F —s 2. wy ae (1) Did the composer forget the gf?— Compare the parallel passage, p. 10. 1161erene, _—_ 1162we Se 2 f * gm » fae 2 On. Tutti Viele |sfcceden s(t) AA Ga lf jecrese.(1) Originat notation: Sete tete= ete, In the Autograph, howeventhe elgbantes are joined, as above. 11795 vu, —| avila: oP 4decrese, o Tatti 118111821183(4) Stors and dots in analogy with the parallel passage on p. 27. (2) But ef. Note on p. 38. (3) Violin I has a, ace. to the Autograph; the original part, and also the scores of Peters and BreitkopfaHir- tel, have, on the contrary, only a (no doubt by mistake). 1184deoresc,B. (A) The word “Solo” was originally placed a little further to the right, so that it might seem doubtful whether the Bs was meant to be included. But this bb is already written large; besides, just here a bit of piano-sketch in ‘the Autograph begins with this db (in the right hand). 1186(1) Even when practising this Concerto, play these measures either very softly, or not at all 1187decrese. 5 Tutti. tutti, Opies. ae gh * fan Fy (A) The notation agrees with the Autograph and Pr.é H’s score. According to the original viola-part it would read: (evidently wrong). The two preceding measures are simply provided with marks of repetition. (2) This fingering is also recommended by Czerny. 1188Appendix. a Gadenza” to the First Movement. pS |S P dolce Pmare, 8 —— ae RG (A) This Cadenza is given, in Nottebohm’s Thematic Catalogue of Beethoveris compositions (Second Edition, p. 188). among the authentic works Without opus-aumber; the Autograph, according to an appended note, is in the possession of Breitkopf & Hirtel. Not published during the composers lifetime, it was printed for the first time, so far as we know, by the above firm. We have taken the liberty of providing this interesting piece with expression-markswhich, being engraved in smaller type, will be recognizable as not belonging to the original edition. — For youthful play- ers, this Cadenza hardly appears suitable. (2) A copy of this Cadenza, from Prof. Fischhof's literary remaine (now in the Royal Library, Berlin), reads gb. 1189a? z, ‘a 3 45. contin ntl eae tL + = i (1) Untess this #~""vis an editorial additios (which is the less to be assumed, as it is also confirmed hy thesbove- mentioned copy), this Cadenza can hardly have been writen Tong before the Trio op.%0,¥O® (published by Bret H- in 1808, register 1880), as it was not until about this time that the composer employed ¢% and f* in notation (in the G-major Concerto he does not yet reach d3). Certain peculiarities of style, which remind the editor of op.t0t and 108 (ihe latter composed about 1518), tend to indicate an even later period of composition than that ofthe Tito. [6f. Nottebom, “Neue Beethoveniana XLII” (in the “Musikalisches Wochenblatt”, Vol. X, N9 81), accoraing to which the compass of the piano had been extended to f# as early as the end of 1808;] 1190(4) The above-mentioned copy also reads only SSEPE Gg). 1191 onus sim.see oi alto trang. unacorda. . _ | 4 413i3 13254 TeSzT SS etc.) p tutti Rane (1) The customary trill is avoided in this closing passage, as at the close of the Rondo of the Eb- major Concerto. 1192