Beethoven's Sonata Op. 14, No. 1, Originally For Strings PDF

Beethoven's Sonata Op. 14, No. 1, Originally for Strings?
Author(s): Michael E. Broyles

Source: Journal of the American Musicological Society, Vol. 23, No. 3 (Autumn, 1970), pp.
405-419
Published by: University of California Press on behalf of the American Musicological
Society
Stable URL: http://www.jstor.org/stable/830613
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Beethoven's Sonata Op. 14, No. i-
Originally for Strings?
By MICHAEL E. BROYLES
ON THE SURFACE there appears to be no problem. Beethove

the two piano sonatas Op. 14 in 1799-1 Three years later h
out a string quartet arrangement of the first,2 in which th
been changed from the original E major to F major. In
Breitkopf & Hirtel he confirms that he did indeed arrange
version from the piano sonata. He also affirms his opposi
arrangements and states that this was his only sonata to be t
string quartet. The famous letter reads:
The unnatural mania, now so prevalent, for transferring even

compositions to string instruments, instruments which in
should be so utterly different from one another, should really
I firmly maintain that only Mozart could arrange for other in
the works he composed for the pianoforte; and Haydn co
too . . . I have arranged only one of my sonatas for string
cause I was so earnestly implored to do so; and I am quite co
nobody else could do the same thing with ease."
After having examined the many sketches that exist for

however, Nottebohm raises a crucial question: did Beethoven
conceive it as a string quartet? Significantly, Nottebohm do
that such was the case, but he does imply that it is a distinct
Many scholars have perpetuated this possibility,5 but virtu
since Nottebohm has made a thorough and critical evalu
reasons behind it, the result being that today there is no mo
upon this point than there was almost a century ago when
1 T. Mollo and Co., Vienna, December, 1799.

2 Bureau d'Arts et d'Industrie, Vienna, May, 1802.
3 The Letters of Beethoven, trans. Emily Anderson (New York, 19
4 .... es ist nicht unm6glich, dass eine solche Verwendbarkeit sc
conception ins Auge gefasst war." Gustav Nottebohm, Zweite Beetho
1887), p. 47.
5 William S. Newman, The Sonata in the Classic Era (Chapel Hill, N.C., 1966),
p. 515, and Joseph Kerman, The Beethoven Quartets (New York, 1967), p. 8, offer
two of the more recent examples. The inclusion of Nottebohm's comment in the
preface to the Eulenburg miniature score, which sets the two versions side by side
(E.E. 3318), has done much to disseminate the possibility. The preface to the score
is a condensation of Wilhelm Altmann's article, "Ein vergessenes Streichquartet
Beethovens," Die Musik, IV (November, 1905), 250-57.
406 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
raised it. As the bicentennial of Beethoven's birth is upon us it is time

another look is taken at the matter.
The argument for string quartet origins of Op. 14, No. I in general
revolves around three points: (I) the equally important and equally
uncertain question of the date of origin for the sonata; (2) the seem-
ingly unidiomatic and in some ways unique stylistic character of the
sonata; and (3) the very existence of this sonata in a string quartet
arrangement in spite of Beethoven's apparent reluctance to make string
quartet arrangements and his refusal to do so in any other instance.
A precise date for this particular sonata has never met universal
agreement, with scholars placing it variously from 1794 to 1798." Notte-
bohm appends an early date, 1795 "at the latest," because sketches of it
are found along with sketches for the B-flat Piano Concerto, which was
first performed in March, 1795.7 This early date has been doubted both
on stylistic grounds and also because it is unknown whether the sketches
for the B-flat Piano Concerto are for the original work or the consider-
able revision that occured in 1798.8 An early date for the sonata would
strengthen the possibility that it was conceived for string quartet, because
it is known that Beethoven was interested in the string quartet medium
in 1795, and yet no quartets emerge from that time. From at least 1794
to 1796 Beethoven was a guest in the home of Prince Karl Lichnowsky,
the well-known connoisseur and lover of music who then had an
instrumental ensemble concert every Friday morning.9 In 1795 a C
Apponyi, who was a frequent visitor to those concerts, asked Beeth
to compose a string quartet for a "certain fee" and with liberal term
regards to the composer's rights on the piece. Wegeler repeatedly u
Beethoven to fulfill this commission, but according to Wegeler, "the
effort resulted in a grand violin Trio (Op. 3), the second in a v
Quintet (Op. 4)."1o
A later dating of Op. 14, No. I would not, however, preclude
possibility that it did originate as a string quartet, for Beethoven
have had this genre on his mind throughout the next few years. We
that in 1798 he turned to string quartet composition with a singlemin
ness unprecedented earlier in his career, and with more fruitful res
the six quartets of Op. 18. At least one sketch for these quartets, fo
variations of the A major Quartet, No. 5, may go back to 1795.11 It
however, probable that Beethoven had either completed or was nea
G G. Kinsky and H. Halm, Das Werk Ludwig van Beethovens. Themnatis
bibliographisches Verzeiclhnis seiner sd'mtlichen vollendeten Kompositionen (Mu
1955), p. 32.
7 Nottebohm, p. 59.
8 Elliot Forbes, Thayer's Life of Beethoven (Princeton, 1964), I, 215.
9 Franz Wegeler and Ferdinand Ries, Biographische Notizen iiber Ludwig van
Beethoven (Coblenz, 1838), pp. 28-29.
10 Ibid., p. 30.
11 Kerman, p. 61.
BEETHOVEN S SONATA OP. 14, NO. I 407
completion of Op. 14 before he began intensive wo

quartets, and the juxtaposition of the Op. 14 and O
Concerto) sketches clearly indicates that considerable p
made on Op. 14 at least by 1798. Thus Op. 14 could hav
as either a string quartet or a piano sonata during the
though 1795 fits best into the string quartet hypothesi
date will be further investigated later.
External circumstances do not, however, provide th
the supposition that Op. 14, No. I originated as a str
claim may also be advanced on stylistic grounds. There
unpianistic character to this sonata, which is apparent p
first two movements. The sonority is relatively thin an
chordal structures, and, except in the last movement,
figurations are rare. A remarkably consistent polyphon
ent, and there is a greater tendency toward a long-line
in any of Beethoven's previous piano works. This is espe
first movement where the overall texture throughout s
suited for a string ensemble than a keyboard.12 The ope
similarity to Haydn's Quartet in D minor, Op. 76, No. 2
writer has seen a direct connection.13 The general dra
nature of Beethoven's keyboard writing seems lacking in th
that prompted Blom to observe, "Both sonatas of Op. 14
all external effect, and No. I in particular turns every p
expressive purpose."'4
Most of the stylistic differences between the two ve
in keeping with relatively obvious features of Beeth
string quartet idiom. New voices are added in the quar
resulting in a fuller and more polyphonic texture, and c
ment present in the sonata is at times clarified in the strin
(Example i). The upward range limitation of the pian
with the string instruments, and Beethoven continues
the quartet that were forced to turn back in the piano
2). Arpeggiated figures, such as appear in the third mo
eminently successful on the piano, are not entirely suita
struments and are replaced by scale passages more con
(Example 3). That changes are very slight in the first
12 Denis Matthews notes that the quartet texture "stares up
lines, though the last movement theme causes some drastic reth
Piano Sonatas. BBC Music Guides (Seattle, Washington, 1969),
13 Theodor von Frimmel, Beethoven-Handbuch (Leipzig, 192
specifies the "String Quartet No. I2 of Haydn," but his descrip
of Op. 14, No. i as "Haydns Schritte in den halben Noten umg
quartets except Op. 76, No. 2.
14 Eric Blom, Beethoven's Pianoforte Sonatas Discussed (New
15 Cf. Alfred Orel, Beethoven (Leipzig, 1927), pp. 66-67, for
specific point in this sonata.
Example
Beethoven's Op. 14, No. i, First Movement, rm.. 16-z 1
a. String Quartet version
0fa
sfff 17
rii
LLLL
b. b.Piano Sonata version
Piano Sonata Version I'I
U sf f f
sf sI sS I
Sf S f
sfP f
sf
SSf f
f Psf
!, L , b II qI l
" t ,.f.. .... asz
stf,
if
-Lil_ - -1 A". m
In
""
BEETHOVEN'S SONATA OP. 14, NO. I 409
Example z
Beethoven's Op. 14, No. I, First Movement, nmm. 1 33-1 7
8va
cresc.
,..1; F: ? .- . 0 !"
cresc.
b. Piano Sonata version
'- F RPM
f '- ? F
... .. ADi i
-. ....W I-' .I - 'a W', . ... . . .I
compared with the massive

the impression one receiv
idiomatic to the piano; in fa
movements is one of the m
versions reveals, for better
the consanguinity of the firs
An argument based upon
weakened by an examinatio
important being the abund
These are found in three
sischer Kulturbesitz;17 the
16Tovey tends to overemphas
although he does not single ou
Tovey, A Companion to Beeth
His assertion that "hardly a bar
writing without quantities of ne
seems to draw the wrong infe
writer's opinion the most import
treatment of movements I and 2
17 Aut. 28.
18 The famous "Kafka" sketchbook, Add. MS 29801. Joseph Kerman has recently
published a facsimile and transcription of this sketchbook (L. v. Beethoven, Auto-
Example 3
Beethoven's Op. 14, No. i, Third Movement, mm. 47-51

3 3
f 63
sf
f sf
b. Piano Sonata version
. 4
BEETHOVEN S SONATA OP. 14, NO. I 4 1
Akademiens Bibliotek, Stockholm.19 Of these three so

Museum "Kafka" sketchbook is by far the most impo
manuscript contains only a single sketch of Op. 1
Stockholm manuscript is itself only a single isolated sheet
to date with any precision either the Berlin or th
sketchbooks from their overall contents, as each contain
were assembled in seemingly random order sometime a
placed on the page. Judging from internal evidence i
the sketch from the Berlin manuscript is a very earl
earliest, and the Swedish manuscript a very late one, w
the "Kafka" sketchbook falling at varying stages be
sketch,21 twenty-one measures long, contains the firs
almost identical form to the final version, but then d
from any material found in either the published copy
It more nearly approaches a score fragment than almo
sketches, as it is written on two staves and contains m
panying material. The Stockholm sketch, from the en
ment section and the beginning of the recapitulation o
ment, is quite similar in many respects to the ske
beginning of the verso of page I21 of the "Kafka" s
much closer to the published version than the one in K
not the final stage in the working out, at least a very late
holm and Berlin sketches are of the first movemen
British Museum sketches are for all three movements
Beethoven worked on all three simultaneously.
Only a superficial glance at the sketches is necessary
had Beethoven any original designs for a string qu
quickly abandoned. The pitch range on all but the ear
cludes the possibility of string quartet performance (b
by dipping below the range of the cello, and strongly
performance by conforming to the upper range of the
natural tendencies of the melody to continue upward,
honored in the string quartet arrangement. (See E
pages of sketches in the "Kafka" sketchbook the low B
was more than likely the reason Beethoven transposed
graph Miscellany from circa 1786 to 1799 [London, 1970], 2 v

him for his generous assistance in deciphering some of what see
more illegible passages.
19 Published in facsimile in Svensk Tidskrift for Musikfors
20 Most, although certainly not all, of the sketches have
Nottebohm, op. cit., pp. 45-49, and J. G. Prod'homme, Les so
Beethoven (Paris, 1937). Prod'homme's statement that "Deux
pages a 14 portees), conserves a Berlin, contiennent des notation
ments" (p. 77) is incorrect.
21 Transcribed in Nottebohm, pp. 45-46, and Prod'homme, pp.
22 Nottebohm, p. 53. Beethoven-Kerman, Autograph Miscellan
arrangement up a half-step, figure prominently. While the low B is no

present in the Stockholm sketch, the sketch itself is almost certainly lat
than at least some of the versions in which the low B does appear, and
consequently it may be concluded that here too Beethoven had the pian
in mind.
According to MacArdle, one reason for the possibility that Op. 14,
No. I was originally conceived as a string quartet is because some of th
sketches occur along with "others for a little quartet movement."23 N
sketches for any of Beethoven's published quartets appear with the Op
14 sketches, and, although MacArdle does not specify the sketch any
further, he may be referring to page 12 in the "Kafka" sketchboo
where is found the notation:
leztes allegro zu einem Quartett

Moderato
This comment comes between a sketch to the first movement of Op. 14,
No. i and a short unknown piece. It thus could refer to the preceding
or the following sketch. The former possibility may be rejected not only
because Beethoven's comments of this sort usually, although not always,
occur at the beginning of a sketch, but also because the preceding
sketch was clearly intended for piano. It goes down to B several times,
and in the last measures, which are written with full chords to a rising
melody and resemble the last measures of the movement, Beethoven
carefully changes the position of the chords in such a way that it always
lies easily within the range of the hand (Example 4). While this comment
Example 4
"Kafka" Sketchbook (British Museum, Add. MS 29801), p. 12 I
77 L L7. ..
q, =: E 4 17 :il
23 Donald MacAr
Letters, XXVII (19
BEETHOVEN'S SONATA OP. I4, NO. I 413
does indicate that the string quartet medium was on Beethoven
at roughly the time he was composing Op. 14, No. i,24 the juxta
of the two sketches, together with the non-specific wording
allegro to a quartet," suggests that Beethoven considered his wor
14, No. I separate from his thought in the string quartet idiom.
One reason for Nottebohm's early dating was certain range li
tions found in the sketches. Nottebohm points out that in one
sketches, at a point corresponding to measure 40 in the printed v
Beethoven turns back at e3 instead of proceeding up to f#3, whic
in the printed edition. From this Nottebohm concludes that "the
ment between (the time of the sketch and the publication of the
was furnished (with an ft)."" Earlier pianos had five octaves,
F to f3, and Op. 14, No. i is the only piano sonata before the W
to exceed this upward range, a point that some scholars may ha
looked.26 Op. 14, No. I was also the first piano sonata to ca
designation "pour le pianoforte" rather than "pour le pianof
clavecin," a fact that may be related to its range. It would be er
to attribute any great significance to this point, however, as desi
of both types were common at the time and were often applied
seemingly little method or justification.27 During the last decade of t
century the range of the pianoforte was being extended to c4 a
and instruments of this type were not at all uncommon.
It is not likely, however, that Beethoven had the extra range
disposal, although this point cannot be determined with certain
know that Beethoven purchased a piano upon first arriving in Vi
24 Because of Beethoven's well-known habit of leaving portions of t

blank and returning later to fill them in, the word "roughly" must be emp
25 Nottebohm, p. 5of. Nottebohm's transcription appears somewhat am
about the octave, but there is no doubt in the sketch itself.
28 Parrish, for example, states, "It is not until Op. 53 (the Waldstein)
thoven actually exceeds the five octave range." (Carl G. Parrish, The Ear
and its Influence on Keyboard Technique and Composition in the Eight
Century, Research Microfilm Publishers; Studies in Musicology-series A [
Wisconsin, 1953], p. 394.) This point may be traced back to Schindler wh
"Beethoven's piano music up to and including the three sonatas Opus 31
as the sonata Opus 54 that was published several years after its composi
been confined to the small space of only five octaves." (Anton Felix Sc
Beethoven as I Knew Him, ed. Donald MacArdle, trans. Constance S. Joll
Hill, N.C., 1966], p. 402.) [On this point, however, see the article by W
Newman in this issue, p. 491.-Ed.]
27 Herbert Grundmann points out that Beethoven's designations may b
tically significant, but that this applies particularly to those pieces writ
1803, when Beethoven is given an trard piano. ("Per il clavicembalo o pian
Colloquium Amicorumn. Joseph Schmidt-Gorg zum 70. Geburtstage [Bon
p. o09). According to Grundmann, Beethoven's introduction to this instrum
his subsequently consistent dropping of the clavecin designation appear c
The significance of Beethoven's instrument in relation to the stylistic char
Op. 14 will be discussed later.
28 Parrish, op. cit.; Hanns Neupert, "Klavier," MGG, VII, col. 110o5.
1792, even that he made monthly payments of 6 florins for it, but we d
not know definitely what kind it was.29 It would be extremely unlikely
however, that any piano Beethoven would purchase in Vienna in 179
would have a range extending beyond f3. There is no further record o
Beethoven acquiring another piano until 1803, when he is given an i-rard
by the manufacturer.30 Czerny, however, does mention that a Walther
piano was in Beethoven's house when he visited him in 18oi0.31 This par-
ticular piano would have only a five octave range, and if it is the one tha
Beethoven had in the late 1790's, then one may safely conclude tha
Beethoven did not acquire the ft on his own piano until after the publica
tion of Op. 14. The range question sheds little light on the date.
Certain other material in the sketchbooks may do so, however. In the
first edition of his encyclopedia Grove published a sonatina for mandolin
in C minor which is found in the "Kafka" sketchbook.32 The beginning o
the "trio" section, which is in C major, is almost identical to the openin
of the trio of the second movement of Op. 14, No. i; the similarity is
great enough that it does not appear accidental. If a connection exists i
seems much more likely that the mandoline sonatina precedes the pian
sonata. The theme itself moves forward at a surer pace in the piano sonat
and the accompaniment is considerably more masterful. To move from
the piano sonata to the mandoline sonatina would seem to be a regression
stylistically. It also appears more likely that Beethoven, attempting some
thing in as minor a work as a mandoline sonatina would, finding the ide
had possibilities, adapt it to a piano sonata, and not vice-versa. The
sketches for the sonata are also revealing on this point. The part of th
theme that is in the mandoline sonatina, while changed slightly from th
mandoline version, appears intact at the beginning of the sketch, as if i
had been preformed. Once beyond the first eight measures, however,
the sketch radically changes. Numerous deletions and corrections abound
and the line is so heavy with ink that, except for some bars that quot
the opening again, it is almost illegible up to the reentry of the trio.
It is generally believed that the mandoline sonatina was written for
Beethoven's friend, the violinist Wenzel Krumpholz, who was also som
thing of a virtuoso on the mandoline.33 Just exactly when Krumpholz came
to Vienna is not certain, but it appears that it was not until either 1795 o
i796.34 The first performance of the B-flat Concerto was March 19, 1795
29 Thayer-Forbes, I, 135-
30 Ibid., p. 335.
31 Ibid., p. 227-
32 WoO 43. Article "Mandoline," by A. J. Hipkins, Grove's Dictionary of Musi
and Musicians (London, 188o), II, 204. This work has subsequently been publishe
in the Breitkopf & Hartel complete edition, ser. 25, no. 295.
33 Kinsky-Halm, p. 487. H. L. Zingel, "Krumpholz," MGG, VII, col. 1842. Ac
cording to Paul Nettl, Krumpholz "evidently supervised Beethoven's composition
for that instrument." (Beethoven Handbook [New York, 1956], p. I19).
34 Thayer-Forbes lists 1795 (I, 228). MacArdle mentions Krumpholz as a violin
and of the revised version sometime in I798.35 If the sketches a

original version of the concerto, and the sonata is consequently
early date, then a series of highly improbable dates emerges. Th
of events may be projected as such: Krumpholz arrives in
strikes up a friendship with Beethoven; Beethoven writes a m
sonatina for him; Beethoven uses a theme from the sonatina in
Beethoven completes and performs the B-flat Concerto, sketches
appear along with those of the sonata. Given the probable date o
holz's arrival in Vienna it seems extremely unlikely that this en
of events could have transpired by March, I795.36 It is thus a m
reasonable assumption that the sketches of the concerto are for the
vision, and the original date of the sonata is probably 1797 or ev
As many scholars have noted, the general style of the sonata a
later date.38 Furthermore, if the opening of this work is mo
Haydn's Op. 76, No. 2, and there is admittedly no firm eviden
was, it must be dated later, as Haydn's quartet did not appear un
It is impossible to demonstrate conclusively that the very fir
in Berlin, was not intended for string quartet.39 At the same ti
no firm reason to doubt that it was written for piano. It lies
within the range of the piano, can easily be played with two ha
not stylistically unsuited to the piano. It is also apparent that
sketch Beethoven did conceive Op. 14, No. I as a piano sonat
many stylistic elements suggesting a string quartet idiom appe
teacher of Beethoven in 1795 (Schindler-MacArdle, p. 83). Zingel ind

(op. cit.).
35 Thayer-Forbes, I, 212.
36 If Krumpholz is rejected as the recipient of this sonatina, other evi
suggests a post-i795 date. Two other names have been mentioned in
with WoO 43, Gottfried Heinrich Mylich and the Countess Josephine
cording to Kinsky-Halm, Mylich played only the guitar besides the violin
and he did not come to Vienna until 1798. Josephine Clary was appar
proficient on the mandoline, and Arthur Chitz reports on a manuscri
Prague dedicated to her which contained the Sonatine in C major, WoO
as the Adagio in E-flat from WoO 43. ("Une oeuvre inconnue de
pour mandoline et piano," S.I.M. Revue musicale, VIII, no. 12 [1912],
Because of Beethoven's journey to Prague in late 1796, Chitz dates his son
Since the Adagio in E-flat appears with the Sonatine in C minor in other
these pieces may be somehow related. Regardless, however, of the specific
between them or the specific designatee for each, all of this evidence po
thoven's interest in the mandoline occurring after March, 1795, and th
to indicate that he wrote for this instrument before then. This poin
regarded as conclusive, however, because the mandoline was a very pop
ment at the time and there were many mandoline players in Vienna.
op. cit., p. '33).
37 It should be stressed that this entire line of reasoning is based upon
of hypotheses which, while highly probable, are not at all definite fac
the conclusion must be drawn accordingly.
38 Blom, p. 67. Thayer-Forbes, I, 215.
39 It seems that from this single point much of the uncertainty abou
has arisen. Cf. Newman, p. 515.
the first eight measures. If Beethoven was using features of the string
quartet style later in the sonata when, as the sketches prove, he clearly had
a piano setting in mind, then there is no reason to doubt that he had a
piano sonata in mind earlier merely because string quartet characteristics
appear. In fact, it seems that an argument for string quartet origins based
purely upon stylistic evidence is extremely weak.
The fact remains, however, that Beethoven did write a piano sonata
in a style relatively close to the string quartet idiom, and that he later
chose to make a string quartet out of it, in spite of his apparent opposi-
tion to such practices. What prompted him to compose this particular
sonata in many ways so unlike his others? How did he come to conceive
material so seemingly unidiomatic, and how can his readiness to transform
it into a string quartet be explained unless it was that Beethoven had the
string quartet setting on his mind from the first, but that the material was
somehow diverted into the form of the piano sonata? Such an explanation
does not appear entirely unreasonable for, as Wegeler suggests, much
the same thing happened on other occasions, with, for example, the
String Trio, Op. 3, and the String Quintet, Op. 4.
There may, however, be a more plausible explanation. In a letter to
the piano-maker Streicher, Beethoven reveals something of his concept
of the nature of the pianoforte:
There is no doubt that so far as the manner of playing it is concerned, the
pianoforte is still the least studied and developed of all instruments; often
one thinks that one is merely listening to a harp. And I am delighted, my
dear fellow, that you are one of the few who realize and perceive that,
provided one can feel the music, one can also make the pianoforte sing.40
A precise date on this letter is impossible, but most likely it was written
between 1794-1796. There are other accounts that clearly indicate that
Beethoven was striving for a sustained style of piano playing.41 According
to Carl Parrish, who made a study of the pianoforte idiom in the late
eighteenth century, Beethoven "dreamed of bringing something of the
quality of stringed instruments into piano playing."42 Frimmel quotes a
comment Beethoven put upon a sketch to a piano piece:
The difficulty is to so polish these entire passages that one is by no means
able to hear the setting down of the fingers, but, as if they were played
with a bow, so they must sing.43
At about the same time as the letter to Streicher quoted above, Beethoven
40 The Letters of Beethoven (Anderson), I, 25-26.
41 Schindler-MacArdle, pp. 414-15.
42 Parrish, p. 394-
43 "Das Schwere hierbei ist, diese ganze passage so zu schleifen, dass man Auf-
setzen der Finger gar nicht horen kann, sondern, als wenn mit dem Bogen gest-
richen wiirde, so muss es klingen." Theodor von Frimmel, Beethoven-Studien, II,
214. Frimmel does not specify a source for this statement other than indicating that
it is a sketch for a piano work.
again wrote Streicher, apparently having just been introduced

Streicher's new pianos while on a concert tour in Hungary. Th
dated November, 1796, begins, "I received the day before yester
fortepiano, which is really an excellent instrument."44 Speaking of
er's piano Curt Sachs comments: "Some time after 1793 he bec
founder of the so-called Viennese piano which means quite an in
in the way of singing quality. While Broadwood in London and
Paris were striving for volume the Viennese kept to their e
light touch and singing quality."45
A number of pieces to this jig-saw puzzle would appear to f
place. The sound ideal for the pianoforte in Beethoven's mi
expressive, singing tone, not unlike string instruments. In No
1796, Beethoven is introduced to a new piano that stresses thes
Shortly after that, work begins on Op. 14, No. i. Is there a con
and does this explain the stylistic nature of Op. 14? Possibly. Be
encounter with the Streicher piano in November, 1796, should
unduly emphasized. Beethoven may well have been familiar with
er's pianos before this, and he undoubtedly was with other
pianos that had much the same quality. The Viennese action
existed before 1796. Regardless, however, of the significance of Beet
encounter with that particular instrument, Op. 14, No. I is
embodiment of the singing quality he mentioned in his previou
Stylistically it is much more suited to the piano than to the ha
a distinction too that was on Beethoven's mind, and yet it is n
propriate for the heavier Broadwood or Prard instruments for
Beethoven would write so idiomatically some years later.
only from Beethoven's concept of the medium that his commen
there is every reason to expect that he would write a piano son
stylistic character of Op. 14, No. i. Beethoven's intentions of c
never be proved, and while the above remains a theory and
it does obviate the necessity of claiming string quartet origins
No. I in order to explain its style.
Neither does Beethoven's choice to arrange only this sonata f
quartet constitute evidence of string quartet origins. Beethoven
to convert the sonata to a string quartet, judging from his letter
have been externally motivated. It is also clear that Beethoven w
adverse to the principle of arranging piano compositions for stri
44The Letters of Beethoven (Anderson), I, 24-

45 Quoted in New Beethoven Letters, trans. and ed. by Donald W.
and Ludwig Misch (Norman, Oklahoma, 1967), p. i8.
46 Having recently had the opportunity, thanks to the Pro Musica Sh
napolis, Maryland, of trying this sonata out on two pianos dating from B
time, one with the London action and one with the Viennese, this writer c
the singing quality of the Viennese action and the dynamic shadings po
and consequently the suitability of Op. 14, No. I to this type of instrume
as the letter suggests. Although the apparent non-existence of other

piano sonatas arranged for string quartet by the composer tends to
corroborate his assertion that he made no other arrangements, there is at
least one other piano piece written by Beethoven that he did recast for
string quartet, an unpublished Minuet in A-flat found in a manuscript
in the Library of the Paris Conservatory and reported by Unger.47 This
piece may date from the same time as Op. 14, No. I; Unger dates it
"presumably 1794," mainly because sketches of the B-flat Piano Concerto
are also found on the same sheets.
Further evidence of Beethoven's receptivity to string quartet ar-
rangements may be found in his relationship with Franz Xavier Klein-
heinz. In a letter from Beethoven's brother Karl to Breitkopf & Hirtel,
dated May 21, 1803, Karl states:
... for Mr. Kleinheinz under the guidance of my brother has arranged
much of his piano music for quartet and some of the instrumental music
for piano with accompaniment.48
Thayer reports another episode dealing with Kleinheinz that corroborates

Karl's letter:
A few days after this public appearance [April 5, I803 performance of

Christus am Olberge] we have a sight of Beethoven again in private life.
Dr. Joh. Held, the famous physician and professor in Prague, then a
young man of just the composer's age (he was born December 11, 1770),
accompanied Count Prichowsky on a visit to Vienna. On the morning of
the i6th of April these two gentlemen met Beethoven in the street. He,
knowing the Count, invited them to Schuppanzigh's "where some of his
piano-forte sonatas which Kleinhals [sic] had transcribed as string quar-
tets were to be rehearsed."49
Both of the above instances act to confirm rather than undermine Beet-
hoven's position as he outlines it in the letter to Breitkopf & Hirtel

quoted at the beginning of this article. The piano sonatas themselves were
not arranged by Beethoven except for Op. 14, No. i. Beethoven's rela-
tionship with Kleinheinz came after the letter was written, and the two
taken together suggests that his opposition to such arrangements was
based on quality rather than principle, and that he was not averse to the
idea of making arrangements, only to unsatisfactory arrangements. The
uniqueness of the Op. 14 arrangement in this regard appears to be of
little significance.
Thus every indication points away from this work having been
47 Beethoven ms. 6i. Max Unger, "Die Beethovenhandschriften der Pariser Kon-
servatoriumsbibliothek," Neues Beethoven-Jahrbuch, VI (1935), p. io6.
48 "Dann hat Hr. Kleinheinz unter Leitung meines Bruders mehrere von seiner
Klaviermusik zu Quartetten und einige Instrumentalmusik fiir Klavier mit Begleitung
arrangiert." Kinsky-Halm, p. 98.
49Thayer-Forbes, I, 331. Thayer points out that "probably Franz Xavier Klein-
heinz is meant."
BEETHOVEN S SONATA OP. 14, NO. 1 419
originally conceived for strings. Although specific, incon

that it was not is lacking, no single argument in favor o
can be adequately sustained, and when the many probab
together a clear pattern emerges. The possibility that Op
nated as a string quartet is remote, and until better evid
trary is advanced, Beethoven's statement of the situatio
it in his letter of I802 must be accepted as authoritative.
University of Maryland, Baltimore County

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Beethoven's Sonata Op. 14, No. 1, Originally for Strings?

Author(s): Michael E. Broyles

American Musicological Society, University of California Press are collaborating with

ON THE SURFACE there appears to be no problem. Beethove

The unnatural mania, now so prevalent, for transferring even

After having examined the many sketches that exist for

1 T. Mollo and Co., Vienna, December, 1799.

raised it. As the bicentennial of Beethoven's birth is upon us it is time

completion of Op. 14 before he began intensive wo

b. Piano Sonata version

compared with the massive

Beethoven's Op. 14, No. i, Third Movement, mm. 47-51

b. Piano Sonata version

Akademiens Bibliotek, Stockholm.19 Of these three so

graph Miscellany from circa 1786 to 1799 [London, 1970], 2 v

arrangement up a half-step, figure prominently. While the low B is no

leztes allegro zu einem Quartett

24 Because of Beethoven's well-known habit of leaving portions of t

and of the revised version sometime in I798.35 If the sketches a

teacher of Beethoven in 1795 (Schindler-MacArdle, p. 83). Zingel ind

again wrote Streicher, apparently having just been introduced

44The Letters of Beethoven (Anderson), I, 24-

as the letter suggests. Although the apparent non-existence of other

Thayer reports another episode dealing with Kleinheinz that corroborates

A few days after this public appearance [April 5, I803 performance of

hoven's position as he outlines it in the letter to Breitkopf & Hirtel

originally conceived for strings. Although specific, incon

University of Maryland, Baltimore County

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