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Hess 237 – Fugues on 30 themes given by Albrechtsberger (Fugarum themata ad semirestrictionem et restrictionem apta).

II) for three voices
The texts and documents on this page are edited by Luigi Bellofatto, the music by Gerd Prengel.

We indicate these fugues using the new numbering from the Beethoven-Haus in Bonn: 3 (for a three-part fugue) followed immediately by the ordinal number of the fugue itself. Therefore, the fugue “Hess 236 3.30 Ronge page 99 original by Beethoven” should be understood as: Catalog number Hess 237, three-part fugue, from the thirtieth assigned fugue theme, book Beethoven Kompositionsstudien by Julia Ronge, page 99 of the transcription and Beethoven’s original version before Albrechtsberger’s correction.

Seven simple fugues for three voices, in the strict style of simple counterpoint. On pages 89–94 of Nottebohm’s book there are three; on pages 192–196 of Seyfried’s book there are two more, one in D minor and one in B-flat major; the remaining two are still unpublished. Another fugue in E minor, written in free form for two violins and cello, has been included in the present catalog under the number Hess 29. [The E minor fugue, which Hess catalogs as no. 29, is combined with the Nachahmungssätz (imitation movement), also in E minor, to form a prelude and fugue. The Nachahmungssätz is published in Nottebohm on page 63. The thematic materials used in the five published fugues all come from a list of themes by Albrechsberger and are associated with the fugues as follows: No. 1, based on theme 27; No. 2, based on theme 26; No. 3, based on theme 11; No. 4, based on theme 24; No. 5, based on theme 29. Hess does not provide the source of the themes for the two unpublished fugues. (The Beethoven Music Research Center takes care of that! In reality, there are eight in total, including the fragment 3.28 Ronge page 92.) The keys for the three fugues published by Nottebohm are: No. 1, F major; No. 2, G major; No. 3, E minor.]

BEETHOVEN WERKE
GESAMTAUSGABE BEGRÜNDET VON JOSEPH SCHMIDT-GÖRG HERAUSGEGEBEN VON BERNHARD R. APPEL IM AUFTRAG DES BEETHOVEN-ARCHIVS BONN

ABTEILUNG XIII • BAND 1 (IN DREI TEILEN)

Kompositionsstudien

bei Joseph Haydn, Johann Georg Albrechtsberger und. Antonio Salieri
G. HENLE VERLAG MÜNCHEN

BEETHOVEN

KOMPOSITIONSSTUDIEN

BEI JOSEPH HAYDN, JOHANN GEORG Albrechtsberger UND ANTONIO SALIERI
HERAUSGEGEBEN VON JULIA RONGE

1. TRANSKRIPTIONEN
2014

G. HENLE VERLAG MÜNCHEN

The manuscripts are preserved almost entirely in Vienna, at the Gesellschaft der Musikfreunde,  also known as the Musikverein. These manuscripts may not be published or reproduced by third parties. The three-part fugues (of the 30 given themes, 8 will be used: specifically themes 8, 11, 24, 26, 27, 28, 29, and 30). The fugues are mostly in a draft state. Of theme 19, only the entry of the four voices exists. Where necessary, we will provide Beethoven’s original version (with deleted variants), Albrechsberger’s corrections, and the notes of both student and teacher. The orchestration of the fugues is provided by Gerd Prengel

D-B, Mus. ms. autogr. Beethoven 28, foglio 50 verso

Johann Georg Albrechtsberger (Klosterneuburg, 3 February 1736 – Vienna, 7 March 1809). He studied music at Melk Abbey and philosophy at a Benedictine seminary in Vienna, becoming one of the most cultured and skilled counterpointists of his time. After being engaged as organist at Rahab in 1755 and Maria Taferl in 1757, he was appointed Thurnermeister at Melk Abbey. In 1772 he was appointed organist at the court of Vienna, and in 1792 Kapellmeister of the Vienna Cathedral.

His fame as a theoretician brought him a few pupils, some of whom later became eminent musicians. These include Ludwig van Beethoven and Wolfgang Mozart. Beethoven had arrived in Vienna in 1792 to study with Joseph Haydn, but he was not satisfied with the lessons and studied harmony and counterpoint with Albrechtsberger.

His published compositions consist of preludes, fugues and sonatas for piano and organ, string quartets, and other composition but most of his works, vocal and instrumental, exist only in manuscript form.  They are in the library of the Vienna Gesellschaft der Musikfreunde. Around 1765, he wrote at least seven concertos for harps and strings (three of which are still in good condition and are in the Hungarian National Library in Budapest). These are pretty and well-written works. Among his most noteworthy works is the Concerto for alto trombone and orchestra in B flat major. Since the trombone does not boast many compositions dedicated to it during the classical period, this concerto is held in high esteem by trombonists.

Perhaps the most important contribution he has made to music, however, is in his theoretical works. In 1790 he published a treatise on composition in Leipzig. A collection of his writings on harmony, in three volumes, was published by his pupil Ignaz von Seyfried (1776–1841) in 1826. His compositional style derives from the counterpoint of Johann Joseph Fux.

Albrechtsberger died in Vienna; his tomb is in St. Marx’s Cemetery.

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Opus 081b – Sextet in E-flat Major for Two Horns, Two Violins, Viola and ... Hess 238 – Nine fugues on 30 themes given by Albrechtsberger