biographies | Beethoven Music Research Center www.lvbeethoven.org

Archive	Reference	Notes
D-B (Berlin State Library)	Mus. ms. autogr. Beethoven 28 (“Fischhof”), Bl. lv	Facsimile available; transcription by Johnson/Fischhof Vol. 2, p. 148f
GB-Lbl (British Library, London)	Add. Ms. 29801 (“Kafka”), Bl. 100 recto	Facsimile and transcription by Kerman Kafka
A-Wgm (Vienna)	A 66, Bl. Ir	Transcription by Johnson/Fischhof Vol. 2

Unv.16 – Overture “Macbeth” Fragment (Previously Biamonti 454)

11 October 2022/in /by Armando Orlandi

Unv. 16 Overture to a “Macbeth” by H.J. Collin; unfinished work. (Previously Biamonti 454)

(Landsberg 10 Skizzenbuch seite 133 )

Unv. 16 – Biamonti 454. Macbeth, notes for an opera based on a libretto by Collin, drawn from Shakespeare’s tragedy, 1808 (no later than late autumn).

As reported by Nottebohm (Vol. II, pp. 225–227), in 1808—or possibly even earlier—Beethoven had come to an agreement with H. J. von Collin regarding a libretto based on Shakespeare’s Macbeth. The poet completed the first act, which was published in the Wiener-Hof-Theater-Taschenbuch for 1809, but the libretto progressed no further than halfway through the next act. According to a note added by Collin’s brother, Matteo von Collin, in the collected edition of the poet’s works, the opera was abandoned because it “threatened to become too gruesome.”

A sheet preserved in the Royal Library in Berlin contains a musical sketch, reproduced by Nottebohm, which can only refer to the witches’ chorus that opens Collin’s libretto. This sketch is immediately followed by drafts for the Largo of the Piano Trio in D major, Op. 70 No. 1.

The stage direction for the witches’ chorus reads as follows:
“(Waldige Gebirgsgend. Die ganze Bühne erfullt sich mit Wolken. Die Hexen kommen auf Adlern, Greifen in der Luft geflogen).” Act One (mountainous wooded region. The entire stage fills with clouds. The witches arrive flying on eagles and griffins).

First Witch: Thrice the brinded cat hath mew’d.

Second Witch: Thrice and once the hedge-pig whined.

Third Witch: Harpier cries:—’tis time! ’tis time!

First Witch: Round about the cauldron go; In the poison’d entrails throw.— Toad, that under cold stone, Days and nights has thirty-one Swelter’d venom sleeping got, Boil thou first i’ the charmed pot.

ALL: Double, double toil and trouble; Fire burn and caldron bubble.

The proximity, contemporaneity, and identical key of the sketch with those immediately following for the Largo of the Trio “lead one to suppose,” says Nottebohm, “an association of states of mind. Whether Beethoven, through an earlier reading of the libretto and the thought of Shakespeare’s terrifying drama, was led to the ghostly tone of the Trio’s Largo—or vice versa—is difficult to determine.”

On a second sheet containing sketches for The Ruins of Athens, the following note appears:
“Ouverture Macbeth fällt gleich in den Chor der Hexen ein.”

Sketched between 1808 and 1811. The only existing drafts for the opera Macbeth appear on a sheet that belongs to the Pastoral Symphony and dates back to 1808. According to a short notice in the Fliegenden Blättern aus dem Portefeuille eines Reisenden im Junius und Julius 1808 (in the Journal des Luxus und der Moden, page 705), that year Beethoven set aside Macbeth in favour of a planned staging of Goethe’s Faust:
„Die Oper, zu welcher Herr Collin das Sujet bearbeiten sollte, componiret er nun nicht.“
(“He is no longer composing the opera for which Herr Collin was to develop the subject.”)

However, it seems that the project was not entirely abandoned. At the beginning of the Petter sketchbook, there is the following note:
“Ouverture Macbeths fällt gleich in den Chor der Hexen ein”
The Petter sketchbook likely dates from September 1811. Beethoven brought it with him to Teplitz, where he spent the summer. The news that the librettist Heinrich Joseph Edler von Collin (1771–1811) had died on 28 July of that year, and thus could not complete his libretto, evidently never reached him. Still, Collin had not worked on the text for quite some time. His brother Matthäus von Collin gave the reason for this in 1813:
„Macbeth, den er [Heinrich] gleichfalls für Beethoven nach Shakespeare zu dichten unternahm, ward in der Mitte des zweyten Actes unvollendet liegen gelassen, weil er zu düster zu werden drohte“
(“Macbeth, which [Heinrich] likewise undertook to write for Beethoven from Shakespeare, was left unfinished halfway through the second act because it threatened to become too dark.”) (Collin / Biographie, p. 422f)

Heinrich Joseph von Collin (Vienna, 26 dicembre 1771 – Vienna, 28 luglio 1811) (Litografia Proprietà di Armando Orlandi(

In his Memories, the actor Heinrich Anschütz recounted a conversation he had with Beethoven in the summer of 1822 about the musical setting of Macbeth. However, this did not concern the operatic project from 1808, but rather incidental music for Shakespeare’s tragedy:

„Eines Tages begleitete ich ihn [Beethoven] eine Strecke. Wir sprachen über Kunst, Musik und endlich über Lear und Macbeth. Wie zufällig warf ich die Bemerkung hin, daß mich schon öfter der Gedanke beschäftigt habe, ob er nicht als Seitenstück zur Egmont Musik den Macbeth musikalisch illustriren sollte? Der Gedanke schien ihn zu elektrisirert blieb wie angewurzelt stehen, sah mich mit einem durchdringenden, fast dämonischen Blicke an und erwiderte hastig: ,Ich habe mich auch schon damit beschäftigt. Die Hexen, die Mordscene das Geistermahl, die Kesselerscheinungen, die Nachtwandlerscene, Macbeth’s Todesraserei Es war im höchsten Grade interessant, seinem Mienenspiele zu folgen, in welchem sich die blindschnellen Gedanken jagten. In wenigen Minuten hatte sein Genius das ganze Trauerspiel duruchgearbeitet. Bei der nächsten Frage, die ich an ihn richtete, drehte er sich um und rannte einer flüchtigen Begrüßung davon. Leider aber war einer stürmischen Erregung nicht die Thragefolgt. Als ich nach einiger Zeit das Thema noch einmal berührte, fand ich ihn verdrießlich und schwieg.“
(Heinrich Anschütz, Erinnerungen aus dessen Leben und Wirken, Vienna 1866, p. 269)

Heinrich Joseph Edler von Collin’s Macbeth (1771–1811) was based on Shakespeare, but according to Dieter Martin, it is more likely that Collin had begun composing an opera based on this subject. In 1807, Collin had published a programmatic essay „Sul dramma cantato“, in which he called for a fusion of drama and opera. In Collin’s Macbeth, Martin suspects the attempt „den Versuch, ‚die deutsche Librettistik durch die musikdramatische tion einer Shakespeare-Tragödie zu fördern und damit einen nicht etablierten Opertypus in deutsche Musiktheater einzuführen’“ (Martin/Shakespeare, p. 10).

However, Collin failed in his programme. He did not complete the libretto but broke off halfway through the second act. The completed first act appeared in the Wiener Hof-Theater-Taschenbuch for 1809 (pp. 87–109). An anonymous reviewer of this publication found the plot “dark and horrible,” and also wrote: „Eine Handlung von solcher Beschaffenhet kann nicht der Stoff des Singspieles seyn“ (Review of the Vienna Court Theatre 1809, in: Annalen der Literatur und Kunst 2, 1809, p. 123, cited by Martin/Shakespeare p. 13).

(1) D-B, Mus. SM. autogr. Beethoven Landsberg 10, p. 133. Belonging to the Pastoral sketchbook (GB-Lbl, Add. Ms. 31766). Dated: 1808
(2) D-BNba, Coll. H. C. Bodmer, HCB Mh 59 („Petter“), folio 9verso, September 1811, facsimile: DBH

(see below)

Unv. 16 Biamonti 454 Ouverture zu Collins Trauerspiel “Macbeth” fassung Roberto Diem Tigani - Albert Willem Holsbergen

Unv. 16 Overture to a “Macbeth” by H. J. Collin; unfinished work. (Previously Biamonti 454)

Sketches written for the concert held in November 2002 in Rennes (F) and for other circumstances

Programmatic Notes on Beethoven’s Macbeth Overture

Biamonti 454 (1808/11)

Shortly after the premiere of the Macbeth overture in Washington in 2001, an article appeared in the online version of the Encyclopaedia Britannica stating: “The desire of classical music enthusiasts for Beethoven’s music remains insatiable; and this desire is heightened by the knowledge that many of his compositions never saw the light of day.” This observation compels us to reflect: What is it about Beethoven’s music that provokes such enduring fascination? Why do scholars and musicologists dedicate themselves to the study of fragmentary sketches and drafts? The answer lies in Beethoven himself and his music: he wrestled with fate — not only his own, but that of humanity at large. His struggle — one of the great epic poems of the modern world — is embodied in a succession of powerful works that, in their humanity and unmediated immediacy, have never been equalled.

Through his personal battle, Beethoven became one of humanity’s heroes, and through his triumph, he was — and remains — one of its prophets. This is why scholars pursue unfinished works, seeking possibilities of completion. Musicologists and composers who, through their efforts, have shed new light on Beethoven’s genius are themselves musical heroes of the modern age. In expanding our understanding of Beethoven, they have broadened our understanding of ourselves. Against the skepticism of closed minds and at the risk of ridicule, they have liberated these works from silence; from our side, the only fitting response is sincere gratitude.

The sketches for Macbeth are essentially grouped into three collections. One page of sketches, preserved in the Beethoven-Haus, bears the inscription: “introduction… Macbeth suddenly joins the witches’ chorus.” Another notebook, held by the British Library, contains sketches for Macbeth alongside a trio entitled “Geist.” Some scholars, including Gustav Nottebohm — the most eminent Beethoven scholar of the nineteenth century — believed that the trio sketches directly relate to the witches’ chorus in Macbeth. A third sheet of sketches, preserved in Berlin, contains stage directions and outlines the introduction. The version featured on this recording, based on these sketches, was completed in 2000 by Albert Willem Holsbergen and is dedicated to Avishai Kallai, an Israeli musicologist.

The Introduction is a miniature version of the opera’s dramatic action. It begins — as does Shakespeare’s drama and Collin’s libretto — with thematic material representing the “witches’ chorus.” This is followed by the thematic exposition defining the characters of Macbeth and Lady Macbeth. Macduff and his troops are evoked through a musical depiction of the battle in which “Birnham wood” moves to attack Dunsinane Hill. The material of the witches’ chorus then returns. Holsbergen writes, “I like to imagine a listener familiar with Shakespeare’s drama who, upon hearing this work for the first time, perceives that it has been written solely for Macbeth, and no other drama.”

Preliminary Draft of CD Article: Macbeth Overture

The Macbeth Overture, Biamonti 454: from the virtual to the real.

When, in the spring of 2000, Willem Holsbergen shared with me the definitive reconstruction of the Macbeth overture, Biamonti 454, we had many reasons to feel satisfied. Not only was the website www.unheardbeethoven.org receiving countless monthly visitors, but for the first time a work of considerable intellectual depth had been completed. Both the sketches—of remarkable quality—and the reconstruction appeared to us as the most ambitious project attempted up to that point. The MIDI file was uploaded in the site’s summer update of the same year, yet it took a long time before the work took on the tangible form of a public performance.

The opportunity arose from a meeting between James Green, Mark Zimmer, and the renowned conductor Leonard Slatkin, music director of the National Symphony Orchestra in Washington, in the spring of 2001. From this fruitful encounter came the world premiere of the overture at the Kennedy Center in Washington on 20 September 2001. Unfortunately, due to a tragic coincidence, this concert was overshadowed by far more momentous events that shook the world at that time. Although the newly unveiled overture was met with warm applause, reflection focused more on the meaning of the word “life” than on the meaning of “art.”

The second public performance took place in a decidedly different atmosphere, in the charming city of Rennes, Brittany. The European premiere was entrusted to the vigorous baton of Stefan Sanderling, conductor of the Orchestre de Bretagne. On 29 November 2002, at the Opera de Rennes, as the second part of a concert-recital by Fazil Say, the overture filled for the first time that Europe Beethoven so cherished. People and artists divided by an ocean met for the first time on that occasion; what distance divides, art unites.

This recording edition is the fruit of the passion and dedication of conductor Roberto Diem Tigani. Roberto honoured us by conducting the overture’s first performance on Italian soil on 9 December 2003, leading the Orchestra Sinfonica Teatro e/o Musica di Sassari at the Sala Concerti “Pietro Sassu.” This concert demonstrated, if ever it were necessary, the sensitivity with which Inedita embraces new musical propositions.

Conceived in 1808 and never completed, the overture has been given new life and brought to completion through the work and love of all these artists. This recording marks the first great step toward the work’s consecration. The final words, therefore, belong to Macbeth himself, and seem addressed to those who, with dedication and passion for research, always feel they have only just begun their journey in Art: “My strange illusion is the fear of the initiate, who needs rigorous practice. We are still novices in the work.”

The overture “Macbeth” Unv. 16 is part of the project “Research becomes Art”

A New Life for the Unknown Works of Ludwig van Beethoven: An Artistic Exploration by Ensemble Accademia Ducale. Musical adaptation by Giovanni Claudio Traversi

Macbeth Overture premiered on 14 September 2022 in Potenza, at the Teatro F. Stabile.
The reduction for instrumental ensemble, by Giovanni Claudio Traversi, was based on the version by Roberto Diem Tigani, composer and conductor, who in turn worked on the version by Albert Willem Holsbergen. The concert, sponsored by the Municipality of Potenza, was part of the concert season I nuovi fiori dell’Accademia, which has received recognition from the Ministry of Culture – General Directorate for Performing Arts for the 2022–2024 triennium.

ENSEMBLE ACCADEMIA DUCALE
Michele Fiore, flute
Maria March Vazquez, oboe
Erminia Nigro, clarinet
Marco Coviello, bassoon
Antonio Fracchiolla, horn
Fabio Macchia, timpani
Francesca Cicolecchia*, violin I
Mirko Palmieri, violin I
Michele Barbieri, violin I
Ludovica Del Bagno*, violin II
Davide Moro, violin II
Maria Grazia D’Agostino, violin II
Carmine Caniani*, viola
Rosalba Potenza, viola
Vito Stano*, cello
Vincenzo Lioy, cello
Giuseppe D’Amico, double bass

CONDUCTOR
Simone Genuini

Unv. 18 – Östrerreich über alles, song for choir and orchestra

25 June 2018/in /by Armando Orlandi

Unvollendete 18 Österreich über alles, song for choir and orchestra

(Mislaid? Left unfinished?)

Unv.18 = Biamonti 477 – “Wehrmanns Lied” Biamonti 478? : Austria above all, to the text by Collin, March – April 1809. A draft included in a group of sheets described by Nottebohm in Zweite Beethoveniana, page 262, and quoted by him as follows (I provide the entire draft, NDA). A patriotic Lied composed on the occasion of Austria and England entering the Fifth Coalition against Bonaparte (April 1809). The war lasted only a few months but was disastrous for Austria: Vienna was occupied by French troops, and it was defeated at Wagram in July. Austria had to sign a peace treaty in October. Many noble families, in addition to the imperial family, had left the city during this period. Beethoven remained there: however, whether the physical and moral hardships had any impact on the character of the works he composed or drafted during this time — except perhaps delaying the completion of some — we cannot say. Only in the first two movements of the Sonata in E-flat Major for Piano, Op. 81a, can we perhaps see signs of a depressed state of mind. (The sketchbook referred to by Biamonti and Nottebohm is the Landsberg 5, NDA).

Sketched in March 1809. The reasons for Beethoven not completing the work remain unknown. Perhaps he did not wish to enter direct competition with the acclaimed works of the genre by Joseph Weigl composed during the same period.

The lyrics of the Lied “Oesterreichischer Wehrmänner” by the poet Heinrich Joseph von Collin were published in Vienna by A. Strauss and later republished in the collection Collin’s sämmtliche Werke, Bd. 4 Epische und lyrische Gedichte, Vienna 1813. The poetic text is based on a lyric by Philipp Wilhelm von Hoernigk, “Oestreich über Alles.”

According to Matthäus von Collin, Heinrich Joseph von Collin’s brother, this poem was published thanks to the insistence of the Austrian army major Catinelli, who urged his friend, the poet, to write compositions celebrating the victories and power of Austria.

On this subject, Collin’s biography reads as follows (from page 433): “In Austria, starting from the year 1808, everything gradually took on a martial character. Preparations were made for a landwehr (citizen militia), and every person able to bear arms was trained for military service; grand events, previously unseen, took place. Collin was invited by his dear friend, the k.k. Lieutenant Colonel Catinelli, to compose a number of lyrics suitable for the occasion, (The allied nations from 1809 formed the so-called ‘Fifth Coalition’ against Napoleon – NDA) and to express the sentiments that had sparked that worthy and noble enthusiasm; the poet said that he had never received a task more sacred, more dear to his innermost desires than this. He therefore created these lyrics full of great enthusiasm, strength, and overflowing emotion, as his heart beat fervently for the homeland, along the same path later followed by other singers, not as inspired, who also ventured into this theme. When the first edition of this lyric was released, accompanied by music by Mr. Weigl, a frenzy of joy seized the assembly; the expression of the most unrestrained enthusiasm erupted, to the extent that many could claim it was the most wonderful day of their lives.” (Collin / Biography, p. 433F.)

The text of Collin’s poems was finished in the autumn of 1808, at least in its first version, but was not published until February 1809 (second edition in print, April). “Oestreich über Alles” immediately became the most popular song in the collection. The Wehrmannslieder were set to music several times, for instance by the aforementioned Joseph Weigl (published by A. Strauss in 1809) and by Adalbert Gyrowetz.

Weigl’s songs were performed on 25 March 1809 at a musical academy at the Court Theatre next to the castle, and the concert was repeated in the presence of the imperial couple on 28 March. Johann Friedrich Reichardt described the details in his “Vertrauten Briefen”, letter dated 31 March 1809.

“The gathering was the most splendid and numerous I have ever seen; the entire hall, all the galleries, every corner and corridor were packed with people from all walks of life, such that many hundreds had to turn back. It was a grand and solemn spectacle — all these people quivering with anticipation, librettos in hand, and with what enthusiasm Collin revived the powerful songs […] And now, even in the song ‘Österreich über alles’: as soon as he began his verses, the enthusiasm reached its peak; there was applause, shouting, loud cries, cheers and sobbing — from the imperial box down to the hall and throughout the ‘mundum’. Never have I experienced such profound emotion.”

The Leipziger Allgemeine Musikalische Zeitung also reported:

“On the 25th [March], there was an academy at the theatre near the Kärntnertor Theatre for the three opera inspectors, Mr Saal, Vogel and Weinmüller, and eight war songs by Collin were performed, set to music by Jos. Weigl and Gyrowetz. Given the general enthusiasm that gripped all hearts for our monarchy, especially those in Vienna, these songs […] could not fail to be well received. The same programme was repeated on the 28th, and also on the 2nd and 16th of April in the large Redoutensaal, and each time the hall was filled to overflowing. The enthusiasm grew, and the applause was boundless.”
(AmZ 11, 1808/09, 12 July 1809, column 651.)

(1) A-Wgm, A 62a, one sheet, formerly owned by Guido Peters and Anton Dermota. Brenneis / Landsberg 5, vol. 2, p. 28, 52; JTW p. 187; Wien / Autographe p. 120. Facsimile and transcription in Kienzl / Skizzen, pp. 321, 323.

(2) D-B, Mus. SM. autogr. Beethoven Landsberg 5, page 19. Dating: March 1809. Facsimile and transcription in Brenneis / Landsberg 5, further facsimile: SBB.

(3) D-BNba, Coll. H.C. Bodmer, HCB Mh 79, one sheet. Facsimile: DBH / online.

Bibliography: Brauneis / Unv. 18 – Brenneis / Landsberg 5, vol. 2, pp. 20f, 52 – Collin / Biografie – Kienzl / Skizzen – Nottebohm / Beethoveniana II, p. 262 ff.

Biamonti 478 – “Jubelgesang auf die Schlacht” Original sketch

Biamonti-478-Biamonti 478 – Jubelgesang auf die Schlacht -conjectural reconstruction

Unv.17 – Hess 317 – “Europens Befreyungsstunde” (Cantata, Existence Doubtful)

25 June 2018/in /by Armando Orlandi

Unv. 17 “Europens Befreyungsstunde” — Cantata.

(Existence doubtful). (Formerly Hess 317).

Unv. 17 – Hess 317. Europens Befreyungsstunde.
A cantata bearing this title was sketched beginning in the middle months of 1814. The author of the poetic text is Josef Karl Bernard, as indicated in Michael Ladenburger’s article Der Wiener Kongress im Spiegel der Musik, in Beethoven: Zwischen Revolution und Restauration, Beethoven-Haus, Bonn, 1989, from page 293 (see: Der Wiener Kongreß im Spiegel der Musik, in Beethoven, Zwischen Revolution und Restauration, ed. by Helga Lühning and Sieghard Brandenburg, Sonderveröffentlichungen des Beethoven-Hauses, Bonn, 1989, pp. 275–306).

The complete autograph remains unknown, and it is not certain whether the work was ever finished. Several sketches for the piece have been located in the Deutsche Staatsbibliothek, Berlin (autograph manuscript Grasnick 20b); in the Conservatoire de Paris (Beethoven Ms 93); and in the Bodmer Collection of the Beethoven-Haus, Bonn (Mh 89).
[The Deutsche Staatsbibliothek is now the Staatsbibliothek zu Berlin (SBB); the Conservatoire de Paris has transferred its holdings to the Bibliothèque nationale; and the Bodmer manuscript in Bonn has been re-catalogued as SBH 625 (SV 137).]

Two additional sketch leaves have been identified in the Heyer Collection in Cologne. The same work is mentioned in George Kinsky, Musikhistorisches Museum von Wilhelm Heyer in Köln, catalogue, vol. 4, musical autographs no. 223, 1916, p. 182. The complete text of the cantata was first published in Festschrift zum 60. Geburtstag von Joachim Schmidt-Görg, Bonn, 1957, pp. 363–366.

The work is also cited in Wilhelm Virneisel, Kleine Beethoveniana, p. 361. (A copy of the text and one page of the sketches were reproduced in facsimile in Beethoven: Zwischen Revolution und Restauration, Beethoven-Haus, Bonn, pp. 296–297.)

Textanfang: „Nach Frankreichs unheilvollem Sturz“. Sketched at the beginning of 1814. Beethoven had planned this cantata for his grand academy concert in the Redoutensaal on 27 February 1814 in Vienna, as reported by Georg Friedrich Treitschke at the beginning of March that year (BGA 707). However, the performance did not take place owing to censorship on 17 February. The authorities also rejected another application for 10 September 1814—on both occasions without providing justification (notes by Friedrich von Gentz, Hofrat at the State Chancellery, and Freiherr von Bretfeld, concerning the nature of the text; a facsimile of the censorship notes appears in Ladenburger, Kongreß, p. 296; see that source for the text). The cantata text, however, is decidedly anti-French and revanchist. The publicly expressed hostility toward the French—found in Bernard’s text—was probably considered undesirable in light of the reconciliation among nations sought during the Congress of Vienna.

Beethoven’s nephew Karl reported in a conversation book from early May 1825: “Bernard spoke again of an oratorio for which he had written the book, and you had almost finished the music, but which was not passed by the censors?” He then added: “Now they would let it pass” (BKh 7, p. 259ff.). Nevertheless, the surviving sketches do not suggest that Beethoven had progressed very far with the work.

Europens Befreyungsstunde by Joseph Karl Bernard (1780–1850). The handwritten libretto is preserved in D-B (Mus. ms. autogr. Beethoven 37.34; reprinted in Virneisel, Beethoveniana, pp. 363–366).

(1) D-B, Mus. ms. autogr. Beethoven Grasnick 20b, fols. 14r–15r.

(2) D-BNba, Coll. FL C. Bodmer, HCB Mh 89, 2 leaves. Facsimile: DBH/online.

(3) D-BNba, HC Bodmer Coll., HCB BSk 15/63, one leaf. Facsimile: DBH/online.

(4) F-Pc (in: Pn), Ms. 93, one leaf. Facsimile: Gallica.

(5) D-Dl, Mus. 4l93-D-12,l, one leaf. Facsimile: Ullrich, Oratorienpläne, p. 25. (This is the first of the two leaves formerly in the Wilhelm Heyer Collection; see Kinsky/Heyer no. 223.)

Unv.14 – Fragment of Piano Variations (Fischhof, folios 25–26 verso)

25 June 2018/in /by Armando Orlandi

Unv.14 – Fragment of Piano Variations

(Fischhof, folios 25/26 verso)

Sketched at the end of 1794 or the beginning of 1795. The sketches are contained on three leaves of the Fischhof sketchbook and probably represent a theme, eight variations, and a coda.

On folio 25 recto of the notebook, immediately after the variations, there is a brief sketch for the first movement of the Piano Sonata in A major, Op. 2 No. 2. This has led some to suppose that Beethoven may have considered a set of variations as the finale of that sonata. Both this hypothesis and the alternative hypothesis of an independent set of variations remain plausible.

Further variations in A major — therefore in the same key and with the same tempo indication — appear in the “Kafka” miscellany (GB‑Lhl, Add. Ms. 29801, fol. 158v), although they probably refer to “Là ci darem la mano” from Mozart’s Don Giovanni, which is certainly not the subject of the variations in the Fischhof.

Unv.14 – Fragment of Piano Variations

Study of a Possible Reconstruction – by Maestro Graziano Denini

INTRODUCTION

Attempting to reconstruct a coherent musical idea from a Theme with 8 Variations and a final Coda — whose sketches are scattered across three pages of Beethoven’s manuscript — is no simple task. I wish therefore to clarify that my reworking can only be considered a hypothesis of transcription, and that many other, perhaps better, interpretations could be proposed.

One of the difficulties I always encounter when analysing Beethoven’s manuscripts is the absence of key signatures at the beginning of the staves. Beethoven rarely wrote the key signature at the start of each system; more often he simply implied it. At times this practice makes deciphering difficult — even more so in a Theme and Variations where the character and mood shift frequently. Occasionally I have identified a minor mode solely from the otherwise unnecessary presence of a G‑sharp.

I will therefore share my working method.

First, I transcribed — as faithfully as possible — all the sketches that could relate to this work and that appear on three leaves of the Fischhof sketchbook (facsimiles are reproduced on this page).

Second, I sought the fragments closest to one another in character or motion; I then began positioning them within a hypothetical Variation, adding missing notes here and there (below I illustrate, Variation by Variation, the results I obtained), while trying to use as much of the material as possible.

At this point, having a clearer view of the Variations and their thematic idea, I asked myself what the original Theme might have been. I believe the answer is that they refer to the Bagatelle in A major, WoO 213 No. 4, which should be slightly earlier. The key is the same, and the first six notes of the Bagatelle correspond exactly to those of Variation No. 6 (except that they are written in doubled values and in 4/4). The figure E–F♯–E in the middle of the Bagatelle also appears among the fragments of the minor‑mode Variation.

(For our work on this composition and the other three forming WoO 213: Four Bagatelles in D‑flat major, G major, A major, and A major.)

I therefore rewrote the entire Bagatelle in 2/4, halving all note values so that it would correspond more closely to Beethoven’s sketches for the Variations. The Bagatelle includes a Da Capo but has no ending; I therefore repeated the first eight measures (ABA form) and added a concluding bar derived from the ending of Variation 6, which is the closest to the Theme.

Finally, I redistributed the Variations in an order that seemed to me the most coherent.

I hope that my work — again, a hypothetical reconstruction of the eight Variations — will not prove disagreeable to Beethoven enthusiasts. In any case, it has been a valuable “exercise in style.”

RECONSTRUCTION OF THE VARIATIONS

Theme

As stated in the introduction, I believe the Theme of these Variations derives from the Bagatelle in A major, WoO 213 No. 4. These four Bagatelles, dating from 1793, have recently been included in the new Kinsky–Halm catalogue. They are sketches already catalogued by Giovanni Biamonti in 1968, though erroneously dated to 1800. Beethoven used a type of paper associated with compositions from 1793 (I thank my friend Luigi Bellofatto for this valuable historical‑analytical contribution).

Mark Zimmer informs us that these Bagatelles are found together with the Allemande WoO 81, the Anglaise WoO 212, the Bagatelle Hess 60, two nearly complete Bagatelles (Biamonti 269 and 277), and numerous sketches (Biamonti 268–270, 271–274, 276, 278–281) on two leaves in the Beethoven‑Archiv in Bonn, SBH 631 (SV 88).

Unv. 14 Fragment of variations for piano (Fischhof folios 25-26 versus) Emanuele Stracchi, piano

Variation I

Found on folio 26 recto (staves 1–4). It is essentially complete; my contribution was limited to adding a few notes in the empty passages, mostly doubling the left hand. Note the unusual harmony of the last three measures, which seems to veer toward B minor before returning to A major.

Variation II

Based on the sketch on folio 26 recto (staves 15–16), continuing on folio 26 verso (staves 1–6). It is built on right/left imitations. It is fully developed; my intervention was limited to filling in missing parts of Beethoven’s original.

Variation III

Based on two sketches on folio 25 verso (staves 9–10). Note the indication “6——–” in measures 3–4 of the second sketch, showing how the left hand should proceed. The first three measures are complete; I added the lower parts to allow repetition. I also added semiquaver octaves as a link between the first and second fragment. The second fragment is complete; I added missing notes at the end to allow repetition and a few left‑hand notes to connect back to the first fragment. Finally, I added a descending scale in the left hand to conclude the Variation.

Variation IV

Based on the fragment on folio 25 verso (staves 11–14). No mode change is specified, but the G‑sharp in the penultimate measure of the sketch led me to interpret it in A minor. The theme consists of four measures (which I repeated with open–closed endings) plus two measures for the second part. Because of the scant material, I had to invent almost the entire second part, resolving it with a slightly varied repetition of the second fragment. The left hand is almost entirely missing except for the first and last two measures. The theme is marked “con ottave.”

Variation V

Based on the sketch on folio 26 verso (staves 5–8). It is practically complete. My contribution was limited to repeating the first three measures (suggested by the continuation sign), adding accented quarter notes (also suggested by the manuscript), and adding left‑hand notes mirroring the right. At measure 8 I added repeated notes to connect the two parts.

Variation VI

Sketches appear on folio 26 recto (staves 11–12), folio 25 verso (staves 11–12), and folio 26 recto (staves 5–8). The opening resembles the beginning of the Bagatelle. My additions in the first fragment are limited to the left hand in measure 4 and a different closing for the repetition (measure 7). The second fragment is complete but very fragmented: Beethoven indicates only the demisemiquaver motion, alternating between hands, leaving the other hand blank. I filled in the missing harmony and ended with a descending left‑hand scale and a fermata linking to the third fragment. The third fragment lacks the left hand entirely; I resolved it with a rapid, agitated progression leading to a second suspension and a soft final cadence. In the penultimate measure I added contrary motion to the ascending right‑hand scale. In the last measure I added a cadential left hand (this cadence inspired the final cadence of the Theme).

Variation VII

Begins with the sketch on folio 26 recto (staves 15–16), followed by two measures from folio 25 verso (staves 15–16), and concludes with the fragment on folio 26 verso (staves 9–10). This is the easiest Variation to identify, given the left‑hand sextuplets and the alternation of triplets and quadruplets in the right hand. The left hand follows the indication to repeat the Alberti‑bass pattern found in the first measure. At the fourth measure, third beat, I added a descending A‑major arpeggio, echoing the original on folio 25 verso. This connects to the next sketch, where I again repeated the left‑hand pattern. To conclude, I added an ascending A‑major arpeggio in the left hand, ending on the same note as the right.

Variation VIII

Based on sketches on folio 26 recto (staves 13–14, 15–16) and folio 26 verso (staves 11–12). In the first sketch the left hand begins with real notes, then continues with the indication “ottave.” The second measure is missing (with continuation sign). The fragment is otherwise complete; I added two concluding notes in the right hand at measure 10. The second fragment is also nearly complete; I added a descending A‑major arpeggio in the right hand at measures 17–18. Compositionally, I reused the first four measures of the second fragment and concluded with the closing of the first, in crescendo.

Coda

Based on fragments on folio 26 recto (staves 7–12) and folio 26 verso (staves 11–14). In the first fragment, built on right/left alternation and imitation, I added several parts, drawing on figures from the original. The abrupt interruption at measure 8 suggested a cadential passage: I added a fermata and continued with three slower measures, also with crescendo and final fermata.

The next fragment (folio 26 recto, stave 14) seemed to me insufficiently characteristic for such a piece. I therefore used an unused sketch from folio 26 recto (staves 11–14), whose descending left‑hand scales, taken at an Allegro tempo and with a “deciso” character, seemed far more conclusive.

Unv.12 – Fantasia for Piano (Sonata?) – Formerly Biamonti 213

27 January 2018/in /by Armando Orlandi

Unvollendete 12 Fantasia for Piano. (Sonata?)

(Formerly Biamonti 213)

Unvollendete 12 Fantasia for Piano. (Sonata?)

(Formerly Biamonti 213)

Perhaps shortly before leaving for Vienna or perhaps already in Vienna, Beethoven left this long sketch for piano that prefigures a Sonata with three movements: an Allegro almost complete, an Andante that is already a little less so and a Finale Allegro, very fragmentary.

This is high-level music and, if it had been completed, it could be said that it is undoubtedly the most important thing Beethoven had achieved, in solo piano music, up to that moment.

The question that arises is: why did Beethoven not finish it or resume it in later times, as happened with other music? Obviously, no certain answer can be had, but one cannot fail to notice that, if the whole of the sketch reveals a Beethoven already later, musically speaking, compared to his contemporary works of at least 10 years, the Finale, very fragmentary and unstable from a harmonic point of view, touches the border of atonality, even projecting itself towards his greatest masterpieces of recent years. Perhaps it was for this reason that the draft remained such: too premature for the times.

Professor Giovanni Biamonti, in 1968, was the first to include it in his catalog of Beethoven’s works, dismissing it as a “Piano Piece. (Draft)“[1]. Although with some reservations, Joseph Kerman was the first to define it as a “Fantasies für Klavier“[2]. After him, Adolf Fecker[3] in 1973, completely reconstructed this draft and, according to Luca Chiantore, his edition: «(…) it is serious and rigorous, and has fallen into unjust oblivion. (…)».[4] In the early years of the twentieth century, following a greater attention to Beethoven’s fragments, the Dutch composer Albert Willem Holsbergen made a new version that was presented in public by several performers including Massimo Anfossi in Settimo Torinese in 2006 and was recorded, as a world premiere, in July 2005 by the young American pianist Steven Beck for Monument Records while, the English pianist John Kersey, recorded it for Romantic Discoveries Recordings, in the original version, with the fragmentary Finale.

More recently, in December 2011, the Inedita record company presented the first critical and philological edition of the first two movements and in 2014 our pianist Massimo Anfossi, performed it at the Beethoven-haus in Bonn, recording it.

Meanwhile, in 2012 the Dutch musicologist and composer Cornelius Wilhelmus (Cees) Nieuwenhuizen, also completed the Sonata and it is interesting to understand how he worked with the fragmentary third movement: «(…) The ferocity and atmosphere of the third part is similar to the third and final movement of Piano Sonata No. 14 in C sharp minor, Opus 27 no 2 (…). The third movement was the real challenge because the composer left it in a very fragmentary way. There are also parts that are completely elaborated by the composer, for example, the entire Coda. However, I wanted to use all the notes and all in the same place where Beethoven wrote them. So all the themes of the manuscript are used. It’s mainly the left hand that I had to add(…)».[5] On 21 October, pianist Martin Oei, performed this version of the Sonata as a world premiere at the Concertgebouw in Amsterdam.

Below are the three movements of the sonata in the Cees Nieuwenhuizen version by Francesco Gussago at the piano. All other known versions will follow.

Unvollendete 12 Fantasy for Piano. (Cees Nieuwenhuizen version) I) Allegro – Attacca

Unvollendete 12 Fantasy for Piano. (Cees Nieuwenhuizen version) II) Andante

Unvollendete 12 Fantasy for Piano. (Cees Nieuwenhuizen version) III) Finale - Allegro

Biamonti 213 / Unv. 12 is part of the project “Research becomes Art”

A New Life for the Unknown Works of Ludwig van Beethoven: An Artistic Exploration byl pianist maestro Francesco Gussago

On the side is the Version of Cornelius Wilhelmus (Cees) Nieuwenhuizen edited by Francesco Gussago

[1] Giovanni Biamonti: Chronological and thematic catalogue of the works. ILTE publisher

[2] Joseph Kermann: (ed) Ludwig van Beethoven The Kafka Sketchbook

[3] Adolf Fecker: (ed.) Ludwig van Beethoven: Unbekannte Klavierstücke, nach dem Autograph übertragen, ergänzung und für den praktische Nutzung einrichten. Möseler, Wolfenbüttel

[4] Luca Chiantore: Beethoven at the piano, Improvisation, composition and sound research in technical exercises. Il Saggiatore publisher

[5] Translation from the official website of composer Cornelius Wilhelmus (Cees) Nieuwenhuizen

Beethoven Bibliography – Italian Books (Q–T) | Beethoven

21 April 2017/in /by Armando Orlandi

Books in Italian. Q – T

Sorted by author

Quadri Enrico Maurizio

BEETHOVEN IL DANTE DELLA MUSICA

Libreria Salesiana – Firenze 1941 14×22 – Pagine 144 - Prima parte

Quadri Enrico Maurizio

BEETHOVEN IL DANTE DELLA MUSICA

Libreria Salesiana – Firenze 1941 14×22 – Pagine 144 - Seconda parte

Quattrocchi Arrigo

ACCADEMIA FILARMONICA DI ROMA: Le trentadue sonate per pianoforte di Beethoven Pianista Rudolf Buchbinder.

Nel CLXX Anno di fondazione dell’ Accademia. Direttore artistico Gioachino Lanza Tommasi. 14×21 – Pagine 56 anno 1991

Rainer José Maria Moreno Galvain

BEETHOVEN E GOYA

CEI Compagnia Edizioni Internazionali Milano 1962 13×18 – Pagine 80+80

Rattalino Piero

CELESTE ED INFERNALE – Beethoven e la musica del Congresso di Vienna

Edizione: 2015 Collana: i Robinson / Letture ISBN: 978885811733

Rattalino Piero

LE SONATE PER PIANOFORTE DI BEETHOVEN – GUIDA ALL’ ASCOLTO

Il Lavoro Editoriale 1989 Ancona ISBN 88-7663-165-8 14×21 – Pagine 131

Rattalino Piero

LE SONATE PER PIANOFORTE DI BEETHOVEN – GUIDA ALL’ ASCOLTO

Unione musicale - Torino

Rescigno Eduardo

I grandi della musica – BEETHOVEN

Fabbri Editori – Milano 1979
14×23 – Pagine 143

Rescigno Eduardo

I classici della musica volume secondo. Supplemento al “Corriere della Sera”

Skira editrice Milano – 2007 18×22 – Pagine 156 ISSN: 1824 92800

Rescigno Eduardo

I Grandi Musicisti – Il titano della Musica : Beethoven.

Fabbri editori 1978 31×31 – Pagine 96

Restelli Alessandro

LUDWIG VAN BEETHOVEN

Curci collana Ritratti 2023 31×31 – Pagine 198 EAN: 9788863954197

Ries Ferdinand e Wegeler Franz Gerhard

BEETHOVEN APPUNTI BIOGRAFICI DAL VIVO – ByArtemio Focher

Moretti e Vitali Editori Bergamo 1993
ISBN 88-7186-039-X
15×21 Pagine 227

Ries Ferdinand e Wegeler Franz Gerhard

BEETHOVEN APPUNTI BIOGRAFICI DAL VIVO – ByArtemio Focher

Moretti e Vitali Editori Bergamo 1993
ISBN 88-7186-039-X
15×21 Pagine 227

Riezler Walter

BEETHOVEN

Rusconi 1979 Milano. 13×22 Pagine 436.

Riezler Walter

BEETHOVEN

Editore: Ghibli
Anno edizione: 2014
In commercio dal: 14 gennaio 2015
Pagine: 434 p., ill. , Brossura
EAN: 9788868010621

Rinaldi Mario

CONFESSIONI DI BEETHOVEN (dall’ epistolario)

Edizioni Curci Milano 1982
15×22 – Pagine 106

Rizzuti Alberto

SOTTO LA VOLTA CELESTE. Beethoven e l’immaginario pastorale

Aracne – (collana Immota Harmonia)
14×20 – Pagine 120 € 12,00

Rolland Romain

VITA DI BEETHOVEN.

Passigli editori Firenze 1984
12×18 pagine 92

Rolland Romain

BEETHOVEN.

Bottega di Poesia -1924
13×20 pagine 131

Rolland Romain

BEETHOVEN. ByG. Zampieri

Milano R. Caddeo e C. Editori

Rolland Romain

BEETHOVEN.

Rank Xerox

Rolland Romain

VITA DI BEETHOVEN.

Rizzoli -1949. 11×16 pagine 92

Rolland Romain – Enrica Cavallo

BEETHOVEN – VITA SUBLIME E TEMPESTOSA.

14×20 – Pagine 98
Poligono Società Editrice 1949

Rohmer Eric

Da Mozart a Beethoven. Saggio sulla nozione di profondità nella musica

Mimesis / Il caffè del filosofo

Ronga Luigi

BACH MOZART BEETHOVEN.

Biblioteca di Cultura Neri Pozza Editore – Venezia 1956
23×18 – Pagine 319

Ronga Luigi

BACH MOZART BEETHOVEN.

Biblioteca di Cultura Neri Pozza Editore – Venezia 1956
23×18 – Pagine 319

Ronga Luigi

BACH MOZART BEETHOVEN. Tre problemi critici

Neri Pozza Editore Venezia 1956

Roselli Ciro

ATTRAVERSO LE NOVE SINFONIE DI BEETHOVEN

Edizioni Levante Bari 1981
14×21 – Pagine 78

Roselli Ciro

BEETHOVEN FRA MITO E RAGIONE (costretto a diventare filosofo)

Lulu Edizioni 2006
ISBN 9781409282501
14×21 – Pagine 122

ROSEN Charles

LE SONATE PER PIANOFORTE DI BEETHOVEN.

Astrolabio Ubaldini Editore collana “Adagio” 2008 – ISBN 8834015320
24×20 – Pagine 279 € 30,00

ROSEN Charles

Lo stile classico. Haydn, Mozart, Beethoven

Traduttore: R. Bianchini Curatore: G. Varon Editore: Adelphi Anno edizione: 2013 In commercio dal: 30 ottobre 2013
Pagine: 626 p., Rilegato EAN: 9788845927690

Rossi Mattia

EZRA POUND E LA MUSICA. Da Omero a Beethoven

Eclettica - CollanaSecolo breve - FormatoBrossura. Pubblicato26/09/2018. Pagine312 - LinguaItaliano Isbn o codice id9788897766957 Illustratore: PELLICO S.

Ruggieri Vezio

Sinfonia n. 9 di Beethoven. La gioia tra psicofisiologia e antropologia.

Valore Italiano – Gennaio 2012 13×20 Pagine 14 ISBN-10: 8897789013 ISBN-13: 9788897789017

Russel Martin

I CAPELLI DI BEETHOVEN.

Piemme – Casale Monferrato 2001
13×20 Pagine 286

Saffaro Lucio

DODICI VARIAZIONI TEORICHE SUL NOME BEETHOVEN

Edizioni di Paradoxos Bologna 12 marzo 1974

Sage Alison

IL MIO PRIMO BEETHOVEN – La vita e la musica di Ludwig van Beethoven

Pagine 40 con tastiera cartonata. Misure: 20 x 30
ISBN: 88-450-3195-0 - 1989 Fratelli Fabbri Editori

Saglietti Benedetta

BEETHOVEN, RITRATTI ED IMMAGINI. Uno studio sull’ iconografia.

De Sono TESI Gennaio 2011
14×21 – Brossura – Pagine 232 – €. 18,00. ISBN: 978-88-6040-362-9

Saglietti Benedetta

LA QUINTA SINFONIA DI BEETHOVEN RECENSITA DA E.T.A. HOFFMANN

Donzelli Editore 2020
Volume di 114 pagine, ISBN: 9788868439415
€ 19,00

Saglietti Benedetta

UNA VISITA A BEETHOVEN Louis Philippe Joseph Girod de Vienney

Una visita a Beethoven ByBenedetta Saglietti, traduzione dal francese di Bruno Nacci ISBN 978-88-6542-342-4 (cartaceo) 978-88-6542-337-0 (ebook) Formato: 12,5 x 19 cm Collana: Feuilles détachées, 10 Editore: La scuola di Pitagora, 2014, pp. 48

Saint-Cyr Mario

SONETTI ITALIANI (Edizione del centenario Beethoveniano)

Freie Ubertragung von Otto Marschalek

Salvagnini Alberto

BEETHOVEN – DISCORSO.

Treviso – presso Luigi Zoppelli 1889. 13×20 – Pagine 45

Salvaneschi Nino

LA VITA EROICA DI BEETHOVEN.

Dall’ Oglio Editore -Milano 1947 14×19 Pagine 249

Sanguinetti Giorgio

LE SONATE PER PIANOFORTE DI BEETHOVEN Volume 1

Repertori Musicali. Storia, analisi, interpretazione 14×21, pagine XVIII+312 anno 2020

Sanguinetti Giorgio

LE SONATE PER PIANOFORTE DI BEETHOVEN Volume 2

Repertori Musicali. Storia, analisi, interpretazione 14×21, pagine VIII+513 anno 2020

Sanguinetti Giorgio

LE SONATE PER PIANOFORTE DI BEETHOVEN Volume 3

Repertori Musicali. Storia, analisi, interpretazione 14×21, pagine XIII+194 anno 2021

Sanguinetti Giorgio

LE SONATE PER PIANOFORTE DI BEETHOVEN Volume 4

Repertori Musicali. Storia, analisi, interpretazione 14×21, pagine X+621 anno 2021

Sarale Nicolino

IL SEME CHE MUORE – Sofferenza e fede in Beethoven, Novalis, Ada Negri Nicolò Salvaneschi.

Elle di Ci Editore 1975 13,5 x 20, brossura, pagine 88

Scarpellini Pancrazi Francesco

IL TESTO DELLA WALDSTEIN E LA SUA FORTUNA EDITORIALE.

Istituto di storia moderna e medioevale – Facoltà di lettere e filosofia – Università di Perugia. 1986 17×24 – Pagine 223

SCHIFF Andràs

LE SONATE PER PIANOFORTE DI BEETHOVEN E IL LORO SIGNIFICATO.

Il Saggiatore – 2012 – ISBN 978-88428145-8 22×15 – Pagine 150 – € 15,00

Schiltzer Franco

LA MESSA SOLENNE DI L. VAN BEETHOVEN

Quaderni del Regio Conservatorio di Musica - Napoli MCMXXXIX - XVII

Schiltzer Franco

LA MESSA SOLENNE DI L. VAN BEETHOVEN

2a Edizione - Firenze Casa Editrice Alpha

Schmidt-Görg Joseph Dott. Schmidt Hans

LUDWIG VAN BEETHOVEN – traduzione di Giulio Santangelo.

Edizioni Claire 1985 Milano 31×31 Pagine 276

Schmitt Eric-Emanuel

QUANDO PENSO CHE BEETHOVEN è MORTO MENTRE TANTI CRETINI ANCORA VIVONO...

Edizioni E/O

Schulz Charles M

CARO VAN BEETHOVEN

BUR Rizzoli Editore Milano 1982 11×18 – Pagine 126

Schünemann Georg

LUDWIG VAN BEETHOVEN -I QUADERNI DI CONVERSAZIONE.

I.L.T.E. Torino 1968 11×17 pagine 1449

Sciarrino Salvatore

LE FIGURE DELLA MUSICA da Beethoven ad oggi.

Ricordi – 1998 18×25 – Pagine 246 euro 68,50 ISBN 88-7592-534-8

Sciarrino Salvatore

LE FIGURE DELLA MUSICA da Beethoven a oggi.

Ricordi Editore Milano

Scotto di Carlo Antonio

IL DIO SORDO – MIA IMMORTALE AMATA.

Youcanprint – Gennaio 2012 17×24 – Pagine 504 ISBN 8866185965 – 978-8866185963

Scotto di Carlo Antonio

IL DIO SORDO – IX.

Youcanprint – Novembre 2012 17×24 – Pagine 298 Euro 19.
ISBN 788867518159 – 978-886751-815-9

Scotto di Carlo Antonio

IL DIO SORDO – Estratti

Youcanprint – 17×24

SCUDERI Gaspare

BEETHOVEN – LE SONATE PER PIANOFORTE

Bottega di Poesia - Milano

SCUDERI Gaspare

BEETHOVEN – LE SONATE PER PIANOFORTE

Casa Editrice Sonzogno – Milano 1939 12×18 – Pagine 230

SCUDERI Gaspare

BEETHOVEN – LE SONATE PER PIANOFORTE

Casa Editrice Sonzogno – Milano 1951 12×18 – Pagine 230

SCUDERI Gaspare

BEETHOVEN – LE SONATE PER PIANOFORTE

Franco Muzzio Editore Padova 1985 ISBN 88-7021-278-5 15×21 – Pagine 210

Schumann Robert

SCRITTI SULLA MUSICA E SUI MUSICISTI

I fascicoli musicali - Bottega della Poesia - Milano

Serani Fabio

EGMONT. Lo storico incontro di Beethoven e Goethe

Autore: Fabio Serani Editore: Officine Culturali Romane Anno edizione: 2022 In commercio dal: 1 gennaio 2022 Pagine: - Rilegato EAN: 9791280807120

Sesto Alessandro

LASCIA STARE IL LA MAGGIORE CHE LO HA GIA’ USATO BEETHOVEN

Gorilla Sapiens 2015 ISBN: 978-8898978052 15×21 – Pagine 153

Setti Corrado – Goglio Gabriella

LA STAGIONE DI MOZART E BEETHOVEN.

Collana Itinerari musicali.
Lampi di stampa – Febbraio 2012
14×21 pagine 196
ISBN 884881333X

Setti Corrado – Goglio Gabriella

LE NOVE SINFONIE DI BEETHOVEN. Un’ esemplare autobiografia musicale

Lampi di Stampa Collana: Itinerari musicali - dicembre 2012
EAN: 9788848813853
ISBN: 8848813852 Pagine: 160

Seyfried Ignaz von

STUDII DI BEETHOVEN, OSSIA TRATTATO DI ARMONIA DI COMPOSIZIONE.

Ristampa anastatica di Milano anno 1855. Arnaldo Forni Editore
17×24 – Pagine 207

Seyfried Ignaz von

STUDII DI BEETHOVEN, OSSIA TRATTATO DI ARMONIA DI COMPOSIZIONE.

Milano – presso Giovanni Canti 1855. 17×24 – Pagine 207

Seyfried Ignaz von

STUDII DI BEETHOVEN, OSSIA TRATTATO DI ARMONIA DI COMPOSIZIONE.

Volume secondo. Ricordi – Milano – verso il 1900. 20×27 – Pagine 210

Solomon Maynard

IL DIARIO DI BEETHOVEN

Gruppo Ugo Mursia Editore Milano 1992
22×28 pagine 182
ISBN 88-425-1354-7

Solomon Maynard

BEETHOVEN, LA VITA, L’ OPERA, IL ROMANZO FAMILIARE.

Marsilio Editori Venezia 1986 (1° edizione)
Lingua: ItalianoNumero di pagine: 39 0Formato: Paperback
ISBN-10: 8831748645ISBN-13: 9788831748643Data di pubblicazione: 01/04/1986

Solomon Maynard

BEETHOVEN, LA VITA, L’ OPERA, IL ROMANZO FAMILIARE.

Codice: 9788831763462 Autore: Maynard Solomon - Editore: Marsilio Anno: 1996

Solomon Maynard

L’ ULTIMO BEETHOVEN, Musica, pensiero immaginazione.

Carrocci Editore Roma 2010
ISBN 978-88-430-5346-9
16×22 Pagine 366 €. 29.80

Solomon Maynard

BEETHOVEN, LA VITA, L’ OPERA, IL ROMANZO FAMILIARE.

Lo stesso, 13 giugno 2019 - Carrocci Editore

Solomon Maynard

SU BEETHOVEN MUSICA MITO PSICOANALISI UTOPIA.

Einaudi Editore Torino 1998
ISBN 88-06-12685-7
16×22 Pagine 343

Spano Marina

IL MAGO, IL DIAVOLO, L’ANGELO La storia di 3 grandi musicisti..

Editoriale – Milano 1957
17×21 – Pagine 161

Spano Marina

MUSICISTI DEI TEMPI MODERNI.

Collana “La Scala d’ Oro” UTET – Milano 1960
15×19 – Pagine 200

Specht Riccardo

RITRATTO DI BEETHOVEN

F.lli Treves Milano 1936 anno XV E.F. (la seconda edizione)
15×21 – Pagine 296

Specht Riccardo

BEETHOVEN

F.lli Treves Milano 1936 anno XV E.F. (la seconda edizione)
15×21 – Pagine 296

Specht Riccardo

BEETHOVEN

Come il precedente, 1970.

Stassi Marco

La proiezione delle microforme nelle macrostrutture. Lettura della sonata op.26 di Ludwig van Beethoven

Editore: Evart Arte ed Eventi - Anno edizione: 2014 - Pagine: 128 p., Brossura - EAN: 9788894018301

Stella Luigi

Beethoven. Il genio supremo, l’inaudita dissonanza

Editore: Nuova Gutemberg. Anno edizione: 2021 In commercio dal: novembre 2021 Pagine: 796 p., Brossura EAN: 9788899843632

Szigeti Joseph

LE OPERE PER VIOLINO DI BEETHOVEN

Edizioni Curci – Milano 1982 11×19 – Pagine 117

Taboga Agostino - Sparago Ernesto

Andrea Luchesi. Motta di Livenza 1741-Bonn 1801. Il Kapellmeister di Ludwig van Beethoven. Prima Edizione dell’Opera Musicale. Vol. 1

Autore: Ernesto Sparago, Agostino Taboga Editore: Youcanprint Anno edizione: 2020 In commercio dal:
18 dicembre 2020 Pagine: 178 p. EAN: 9788831695213

Tari Antonio

BEETHOWEN (!) 5 - LA SINFONIA PASTORALE

Trani pei Tipi del cav. V. Vecchi Editori 1886

Terenzio Vincenzo

DA BACH A DEBUSSY.

Studii critici – Seconda Edizione Pagine 208 – 13×19 Bari Giuseppe Laterza & figli tipografi – editori – librai 1955

Terenzio Vincenzo

PROFILO ROMANTICO DI BEETHOVEN

Bramante Editrice Busto Arsizio 1983 18×23 – Pagine 90

Tigani Roberto Diem

I CUSTODI DEL SUONO. Un secolo e mezzo di storia della riproduzione sonora.

Zecchini Editore – Settembre 2012 24×17 – Brossura – Pagine 282 – €. 27,00. ISBN: 978-88-6540-022-7

Todaro Gilberto

IL SEGRETO ED IL MESSAGGIO DELLA NONA SINFONIA DI BEETHOVEN

Roma MCMLXXI 15×21 – Pagine 118

Todaro Gilberto

LA IX SINFONIA DI BEETHOVEN E’ COMPIUTA?

15×21 – Pagine 133 Tipografia Sallustiana Roma 1972

Tolstòj Lev Nikolàvic

LA SONATA A KREUTZER

Arnaldo Mondadori Editore

Torno Armando

OMAGGIO A BEETHOVEN

il Sole 24 ore - 1993

Beethoven Bibliography – Italian Books (M–P) | Beethoven

21 April 2017/in /by Armando Orlandi

Books in Italian. M – P

Sorted by author

MACCHI Gustavo

BEETHOVEN E LE SUE NOVE SINFONIE note e chiarimenti a guida dell’ uditore

Libreria Editrice Milanese – Milano presumibilmente 1948-50
21×15 – Pagine 64

Magnani Luigi

I QUADERNI DI CONVERSAZIONE DI BEETHOVEN

Riccardo Ricciardi Editore Milano-Napoli 1962
16×23 – Pagine 254

Magnani Luigi

BEETHOVEN NEI SUOI QUADERNI DI CONVERSAZIONE

Riccardo Ricciardi Editore Milano-Napoli 1962
16×23 – Pagine 254

Magnani Luigi

BEETHOVEN NEI SUOI QUADERNI DI CONVERSAZIONE

Universale Laterza Editore 1970
11×18 – Pagine 249

Magnani Luigi

BEETHOVEN LETTORE DI OMERO.

Einaudi Editore 1984. 16×22 Pagine 90

Magnani Luigi

IL NIPOTE DI BEETHOVEN

Giulio Einaudi Editore Torino 1972 14×22 – Pagine 155

Magnani Luigi

IL NIPOTE DI BEETHOVEN

Editore Endemunde 12/06/2015 14×22 – Pagine 155 ISBN – 9788897950240 – Prezzo: € 12,90

Magnani Luigi

La “Nona Sinfonia” di Beethoven all’ Arena di Verona (1975).

19×26 – Pagine 62

Magnani Luigi

GOETHE, BEETHOVEN E IL DEMONICO.

Einaudi Editore Torino 1976 16×22 pagine 124

Magnani Luigi

LE DUE VERITÀ’ DI BEETHOVEN

Fondazione Magnani - Rocca. Nuova Alfa Editoriale.

Magni Enrico DUFFLOCQ

LE SINFONIE DI BEETHOVEN

Edizione del Magazzino Musicale – Milano 1950 18×12 – Pagine 108

Maisani Gille- Jean

SCRITTURE DI COMPOSITORI DA BEETHOVEN A DEBUSSY. Musica e Grafologia

Ed. Epsylon Roma, 2009. 18×22 – ByNicole Boille Calendreau, traduzione di Emanuela Boille. pp. 258, Prezzo: € 29,00

Malpica Cesare

BEETHOVEN in Il Lucifero – Giornale scientifico, letterario, artistico, industriale.

Napoli stabilimento poligrafico di Filippo Cirilli direttore proprietario – dal febbraio 1841 al febbraio 1842 – anno quarto 12×18 – Pagine 230

Mantanus Matthieu

BEETHOVEN E LA RAGAZZA COI CAPELLI BLU .

Pagine 144 – Misure: 14 x 21 ISBN: 9788804660149 – euro 18,00
Feltrinelli (15 Marzo 2016)

Marek George

BEETHOVEN ED IL SUO MONDO

Selezione dal Reader’s Digest – Milano 1970 14×19 – Pagine 64

Mantanus Matthieu

UNA GIORNATA EROICA. I segreti dell’orchestra e l’«Eroica» di Beethoven raccontati durante una prova

Pagine 155 – Misure: 15 x 18 ISBN: 978-8807921438 – euro 14,00
Feltrinelli (16 ottobre 2009)

Manzella Ivan

L’ inaudito. Saggio ed analisi della sonata op. 111 di Ludwig van Beethoven

Editore: Novecento (Mascalucia) Collana: Musicologia Anno edizione: 2014 Pagine: 24 p. EAN: 9788889787588

Marazia Giulio

ES MUSS SEIN!. Forma come processo nel pensiero beethoveniano

Editore: Et Cetera Collana: Musica Anno edizione: 2022 In commercio dal: 16 maggio 2022 Tipo: Libro universitario Pagine: 56 p., ill. , Brossura EAN: 9791280165138

Maresca Giovanni

IL VERBO DI BEETHOVEN.

Gastaldi Editore – Milano – Roma 1948 – 12×17 – Pagine 407

Margarone Salvatore – Pistone Stefania

IL LIED E BEETHOVEN.

Casa musicale ECO 2008 – ISBN 8860533120 24×20 – Pagine 24 € 12,00

Martin Andreas

Io vivo solo nella mia musica. Note autobiografiche

Editore: Blues Brothers. Anno edizione: 2024. In commercio dal: 04 novembre 2024. Pagine: 224 p., Rilegato EAN: 9788880741602

Massi Luciano

OMAGGIO GRAFOLOGICO A BEETHOVEN.

Mastrigli Leopoldo

BEETHOVEN LA SUA VITA E LE SUE OPERE

Città di Castello – S. Lapi Tipografo Editore 1886 13×19 – Pagine 208

Mauretti Leonardo

Una piccola storia del Do minore. Mozart, Beethoven e la tonalità dell’inconscio

Autore: Leonardo Mauretti Editore: Gangemi Collana: Arti visive, architettura e urbanistica Anno edizione: 2020 In commercio dal: 2 novembre 2020 Pagine: 128 p., Brossura EAN: 9788849239713

Mauri Glauco

LUDWIG VAN BEETHOVEN.

Compagnia Teatrale Glauco Mauri 1994 16×29 – Pagine 32

Mauri Glauco

I QUADERNI DI CONVERSAZIONE DI BEETHOVEN.

Ente autonomo – Teatro comunale Firenze. XXXVII Maggio Musicale Fiorentino 1974 14×24 – Pagine 16

Mezzina Marina

LA FORMA DELL’ IDEALE. Teoria e analisi della forma nei quintetti per pianoforte e fiati di Beethoven e Mozart.

Ginevra Bentivoglio Editori 2012 16×24 – Pagine 63 € 11

Michielon, Letizia

Die Klage des Ideellen (Il lamento dell’ideale). Beethoven e la filosofia hegeliana

Opera disponibile ad Accesso Aperto http://hdl.handle.net/10077/20849

Mila Massimo

I QUARTETTI GALITZINE E LA GRANDE FUGA

Giappichelli Editore Torino 1969, 161p, 25x17,5

Mila Massimo

I QUARTETTI DI BEETHOVEN – Parte prima: 1798-1810.

18 x 26 – Pagine 129 G. Giappichelli Editore – Torino – Corsi universitari. 1968.

Mila Massimo

LE 32 SONATE PER PIANOFORTE DI BEETHOVEN

Tipografia Perugina 1958

Mila Massimo

LA NONA SINFONIA DI BEETHOVEN

G. Giappichelli – Editore, Torino 1975 – 16×12 – Pagine 244

Mila Massimo

LA NONA SINFONIA DI BEETHOVEN - Corsi Universitari

Giappichelli – Editore, Torino Pagine 244

Mila Massimo

Ludwig van Beethoven. SONATA A KREUTZER. Guida all’ incisione del violinista G. Kulenkampff e del pianista W. Kempff.

Milano, Dischi Fonit serie Polydor, 1944 18×13 – Pagine 42

Minoia Diego

ASCOLTANDO BEETHOVEN - Guida all‘ ascolto - Le sonate "centrali" per pianoforte dall’ Op. 27 all’ Op. 79

ASIN ‏ : ‎ B0BM3MFKB8 Editore ‏ : ‎ Independently published (12 novembre 2022). Copertina flessibile ‏ : ‎ 152 pagine ISBN-13 ‏ : ‎ 979-8848376715 0.89 x 22.86 cm

Mioli Pietro

Beethoven in fuga. Soggetti, divertimenti e occorrenze musicali

Curatore: Piero Mioli Editore: Pàtron Collana: Libreria filarmonica Anno edizione: 2022 In commercio dal: 12 luglio 2022 Tipo: Libro universitario Pagine: 248 p., Brossura EAN: 9788855535571

Molteni Angela

LUDWIG VAN BEETHOVEN, LA VITA, LE OPERE

Edizioni BluesBrothers Milano 1998
ISBN 88-8074-028-8
10×19 – Pagine 163

Molteni Angela

LUDWIG VAN BEETHOVEN, LA VITA, LE OPERE

Kaos Edizioni Milano 1989 14×21 pagine 201

Montella Carlo

DOV’ E’ BEETHOVEN?

Pironti 2002 15×21 – Pagine 164 Euro 12,00 EAN: 9788879372909

Montesano Giuseppe

Lettori selvaggi. Dai misteriosi artisti della Preistoria a Saffo a Beethoven a Borges la vita vera è altrove

Giunti Editore Collana: Scrittori Giunti Anno edizione: 2016 In commercio dal: 16 novembre 2016 Pagine: 1920 p., Rilegato
EAN: 9788809832466

Morale Ugo

INTRODUZIONE A BEETHOVEN.

Bruno Mondadori editore Milano 1999 Linea: Testi e pretesti
11 x 17 – Pagine 334 – ISBN: 88-424-9498-4

Mottini Edoardo

BEETHOVEN.

Profili di uomini illustri numero 97 A.F. Formiggini Editore – Roma 1928
Pagine 106 – 11×17

Mottini Edoardo

CON SETTE NOTE – Figure di grandi musicisti presentate ai giovani.

Editore Ulrico Hoepli – Milano- 1949 17×24 – Pagine 276

Musmeci Sebastiano

Ludwig van Beethoven - PROSPETTIVE SUL SUO MISTERO

Il Gatto a nove code

Mussolini Benito

in Rivista “LA FESTA” con articoli dedicati a BEETHOVEN.

Casa Editrice Cardinal Ferrari – Milano 10 aprile 1927 Anno V numero 15- 25×31 – Da pagina 336 a 372

Muto Walter

INAUDITO BEETHOVEN – APPUNTI DI SCENEGGIATURA IN FORMA DI CATALOGO. O VICEVERSA.

Itaca Editore 2007 I.S.B.N. 9788852601552 17×24 – Pagine 40 €.7,50

Neonato Stefania

Beethoven e il suo Érard. Contesto e utopie sonore nella sonata in Do maggiore, Op. 53

Editore: Mimesis Collana:Tetragramma Codice EAN: 9791222311715 Anno edizione: 2024 Anno Pubblicazione: 2024 Dati:118 p., brossura

Nobile Antonio

Beethoven: genio e cuore nel Concerto per violino e orchestra Op.61

Editore: EBS Print Anno edizione: 2020
In commercio dal: 1 febbraio 2020 Pagine: 90 p., Brossura EAN: 9788893498067

Noventa Giacomo

I CALZONI DI BEETHOVEN dialogo fra due letterati

Casa Editrice il Saggiatore – 1965 16×21 – Pagine 137 – Brossura

Nuoara Melania

LA VERA STORIA INVENTATA DI BEETHOVEN

Rueballu – Collana Jeunesse – 2008 22×15 – Pagine 80 – Brossura
Euro 15.00

Oberdorfer Aldo

VITA DI BEETHOVEN

Milano - Istituto Italiano per il libro del Popolo. G. Morreale Editore

Ottaviano Luigi

BEETHOVEN UOMO E ARTISTA

1978, 125p, 12x17

Padel Ruth

VARIAZIONI BEETHOVEN

Autore: Ruth Padel Curatore: Paola Splendore Editore: Elliot Collana: Poesia Anno edizione: 2021 In commercio dal: 24 giugno 2021 Pagine: 200 p., Brossura EAN: 9788892760844

Pahlel Kurt

ANGELO MIO MIO TUTTO, ANIMA MIA.

– 1968 Pagine 381 – Misure 14×21

Palazzi Fernando

Enciclopedia degli aneddoti, 15.653 aneddoti storici di tutti i tempi e paesi Raccolti ed ordinati dallo stesso.

8° Edizione riveduta ampliata e illustrata Volume primo Milano Casa editrice Ceschina 1966 – 17×24 Pagine 1 010

Palumbo Pier Fausto

PALESTRINA, BACH, BEETHOVEN ed altri saggi.

12×17 – Pagine 230. Apollon Editore Roma 1946

Pannain Guido

BEETHOVEN

12×17 – Pagine 64 Collezione I maestri della musica n. 18-19 Edizioni Airone – Torino Rotocalco Dagnino 1940

Pannain Guido

L. VAN BEETHOVEN

Edizioni Airone - Torino

Paolini Sonia

Beethoven’s silence... Io sono Irina e sono Elise...

Editore: Lettere Animate - edizione: 2017 In commercio dal: 24 marzo 2017 Pagine: 496 p. EAN: 9788868827816

Paolone Ernesto

BEETHOVEN - LA GRANDE SCONOSCIUTA

Edizioni il Solco

Paone Gregorio Maria

Profilo storico ed ermeneutico della sinfonia dalle origini alla Nona di Beethoven. Nuova ediz.

Editore: GMA Anno edizione: 2019 In commercio dal: 1 gennaio 2019 Pagine: 102 p., Brossura EAN: 9788894418682

Paparelli Silvia

An die ferne Geliebte Una ricognizione sul Liederkreis op. 98 di Beethoven

Zecchini Editore pp. VIII+106 - formato cm. 15x21 - illustrato - Euro 21,00

Papini Giovanni

NIPOTI D’ IDDIO

------

Pedretti Bruno

La sinfonia delle cose mute (Scrittori italiani e stranieri)

MONDADORI (25 settembre 2012) 267 pagine ASIN : B009O3TZ8W

Perracchio Luigi

LE SONATE DI BEETHOVEN.

17×24 – Pagine 48 Collezione Musica d’ oggi – Rassegna di Vita e Cultura musicale Anno XI numero 12 Edizioni Ricordi & C. – Milano Dicembre 1929 .

Pero Aldo Maria

Opere in Memoriam di Ludwig van Beethoven

Vicenza febbraio – marzo 2022 21×21 – Pagine 44 Movimeto Arte XXI Secolo. Ringraziamo Sandro Lugani per il prezioso dono.

Pestelli Giorgio

GLI IMMORTALI – Come comporre una discoteca di musica classica

Einaudi Tascabili – Gli struzzi. Milano 2004 14×22 – Pagine 225

Pestelli Giorgio

BEETHOVEN.

Il Mulino Bologna 1988 ISBN 88-15-0949-9 14×21 403 pagine

Pestelli Giorgio

L’ ETA’ DI MOZART E DI BEETHOVEN.

Collana “Storia della musica” Volume 7. a cura della Società Italiana di Musicologia. E.D.T. Edizioni di Torino 1979 14×21 pagine 347
ISBN 88-7063-097-8

Pestelli Giorgio

BEETHOVEN A TORINO E IN PIEMONTE NELL’ OTTOCENTO.

Centro Studi Piemontesi fondo “Carlo Felice Bona” 25 x 18 – Pagine 90 – 1982

Pestelli Giorgio

IL GENIO DI BEETHOVEN

Donzelli - Collana: Virgola 2016
Pagine: XI-210 p., Brossura
EAN: 9788868435622

Petrucci Gualtiero

LA VITA AMOROSA DI BEETHOVEN – Lettere alle amiche

Roma Casa Editrice M. Carrara e C. 1910 12×18 – Pagine 256

Piccardi Carlo

Maestri Viennesi – Haydn, Mozart, Beethoven, Schubert. Verso e oltre.

LIM Editore – Le sfere. 14/02/2012 14×20 – Pagine 753 ISBN-13 9788870966558 Euro 32.

Piccioli Giuseppe

IL CONCERTO PER PIANOFORTE E ORCHESTRA - Da Mozart a Grieg

Emo Cavalleri Editore . Como

Pignatelli (Pricipe) Federico

MUSICISTI NELLE LORO OPERE

Napoli Tipografia Prete 1917

Pitteri Giorgio

BEETHOVEN IL GIGANTE DELLA MUSICA

Mursia

Poggi Amedeo e Vallora Edgar

BEETHOVEN SIGNORI, IL CATALOGO E’ QUESTO!

Gli struzzi 473 Einaudi Torino 1995 ISBN 88-06-13279-2 12×20 – Pagine 729

Polito Alessandro Pedersoli Laura

IO SONO BEETHOVEN

Editore: Curci Collana: Curci young Anno edizione: 2020 In commercio dal: 21 ottobre 2020 Pagine: 48 p., ill. , Rilegato Età di lettura: Da 10 anni EAN: 9788863953374

Powell Jhonn

COME FUNZIONA LA MUSICA – La scienza dei suoni bellissimi – Da Beethoven ai Beatles ed oltre

Salani Editore Ottobre 2011 13,5 x 20,5 , brossura, pagine 317 – ISBN: 9788862568593

Prefumo Danilo

LA SINFONIA DEGLI INGANNI.

EPOS Editorre 2008 11×17 – Pagine 182 ISBN 8883023552 Euro 13.80

Principe Quirino

I QUARTETTI PER ARCHI DI BEETHOVEN.

Pagine 262 – 14×21 Edizioni Anabasi Milano 1993 – ISBN 88-417-5010-3

Principe Quirino

I QUARTETTI PER ARCHI DI BEETHOVEN.

Pagine 250 – 14×21 Editore Jaca Book Milano 2014 – ISBN 89788816230156

Puddu Paolo

Canon ENIGMATICO – In morte di Mozart e Beethoven

CLUEB Editore – 2006 13×25 – Brossura – Pagine 150 € 12.00

Pugliese Giuseppe

LUDWIG VAN BEETHOVEN – ATTI DEL CONVEGNO INTERNAZIONALE DI STUDI

Verona 30 settembre, 1 ottobre 1988 Arena di Verona Ente Autonomo Matteo Editore Treviso 1989 17×24 – Pagine 210

Pugliese Giuseppe

IL PIANOFORTE DI BEETHOVEN

Matteo Editore Treviso 1991 17×23 pagine148

Pugliese Giuseppe

IL PIANOFORTE DI BEETHOVEN

Matteo Editore Treviso 1991 17×23 pagine148

Pugnetti Gino

I grandi di tutti i tempi Vol 9 – BEETHOVEN

Periodici Mondadori 23×29 – Pagine 75

Beethoven Bibliography – Italian Books (I–L) | Beethoven

21 April 2017/in /by Armando Orlandi

Books in Italian. I – L

Sorted by author

Incontrera Carlo de – Autori Vari

IL PIANOFORTE DI BEETHOVEN.

Teatro Comunale di Monfalcone – ByCarlo De Incontrera Pagine 334 – 16×24 – 1986

Incontrera Carlo de

BEETHOVEN E IL SUO TEMPO

Monfalcone, 19 settembre, 6 ottobre 1981 19×23 – Pagine 117

Incontrera Carlo de

L‘ ETA’ DI BEETHOVEN - testimonianze per una discussione

E.A. Teatro La Fenice

Isotta Paolo

ALCUNE OSSERVAZIONI SULLA FORMA DELLA MISSA SOLEMNIS DI LUDWIG VAN BEETHOVEN.

Estratto da “Rivista internazionale di musica sacra” Anno 3 numero 3 (luglio settembre 1982). Misure: 17 x 24

Isserlis Steven

PERCHE’ BEETHOVEN LANCIO’ LO STUFATO

CURCI YOUNG EDITORE 2010 13×20 – Pagine 192 ISBN: 9788863950632 Prezzo € 13,90

Kentner Louis

IL PIANOFORTE: LO STRUMENTO, LA TECNICA ESECUTIVA, I GRANDI COMPOSITORI

Franco Muzzio Editore Padova 1990 ISBN 88-7021-498-2 15×21 – Pagine 208

Kerman Joseph- Alan Tyson

BEETHOVEN – THE NEW GROVE.

Ricordi – Giunti Milano 1986 13×21 pagine 219

Klimt Gustav

BEETHOVENFRIES – Disegni intorno al Fregio di Beethoven.

Skira – Milano – Febbraio 2012 25×30 – Pagine 96 €uro 29,00 ISBN 978-88-572-1405-4

Kolt Janny

UN GRANDE AMORE DI BEETHOVEN.

Serie: i grandi cine-romanzi, numero 219 13 x 9 – Pagine 32 Edizioni “Taurina” Torino 12 settembre 1937 – XV E.F.

Kropfinger Klaus

BEETHOVEN

BMG – Edizioni musica stampata – Lucca 2006 Collana “Le Sfere” 14×21 – Brossura – Pagine 210 ISBN: 8875928150 ISBN-13: 9788875928155 – €. 25,00

Landon H.C. Robbins

BEETHOVEN, LA SUA VITA ED IL SUO MONDO IN DOCUMENTI ED IMMAGINI D’ EPOCA

Rusconi Milano 1997 18×28 pagine 252

Laurentis Hernan

I PROCEDIMENTI DELL’ UNITA’ IN BEETHOVEN. vol.1

Drums Editore – Due volumi – 1998 18 x 24 – Pagine 200 e 318

Laurentis Hernan

I PROCEDIMENTI DELL’ UNITA’ IN BEETHOVEN. vol.2

Drums Editore – Due volumi – 1998 18 x 24 – Pagine 200 e 318

La Villa Ernesto

PENSIERI SULLA MUSICA DI BEETHOVEN.

Pagine 242 Misure: 18 x 24 Roma – 1972

Lenz Wilhelm Von

IL PIANOFORTE E I SUOI VIRTUOSI.

Sellerio Editore – Palermo, 2002 11×16 Pagine 207

Leoni Sergio

LE SONATE PER PIANOFORTE DI BEETHOVEN.

Fratelli Bocca Editori – Torino 1922 14×20 – Pagine 216

Levy Daniel

DIALOGO CON BEETHOVEN.

Editore: Accademia Internaz. di Eufonia
Anno edizione: 2020
In commercio dal: 15 ottobre 2020
Pagine: 96 p., ill. , Rilegato
EAN: 9788890849893

Lockwood Lewis

LE SINFONIE DI BEETHOVEN - Una visione artistica

EDT (Maggio 2016) – Collana Contrappunti 146×22 – Pagine 252 – Euro 20,40 ISBN 8859226333

Luisetti Fuà Laura

DISPERAZIONE IN BEETHOVEN E SCHUBERT.

Arnoldo Mondadori Editore, 1978 31×31 Pagine 94

Beethoven Bibliography – Italian Books (E–H) | Beethoven

21 April 2017/in /by Armando Orlandi

Books in Italian. E – H

Sorted by author

Ellison James

AMATA IMMORTALE LA STORIA D’ AMORE SCONOSCIUTA DI LUDWIG VAN BEETHOVEN

Romanzo Sonzogno Milano 1995
13×21 – Pagine 216
ISBN 88-454-0770-5

Erskine Peter

No Beethoven. La mia vita dentro e fuori i Weather Report

Traduttore: F. Cristallo Editore: Arcana Collana: Universale Arcana Anno edizione: 2019 In commercio dal: 28 marzo 2019
Pagine: 334 p., ill. , Brossura EAN: 9788862316095

Faggin Giuseppe

ALLA RICERCA DELL’ UMANO – BEETHOVEN, EMERSON, DOSTOEVSKIJ, VAN GOGH

Accademia Olimpica Vicenza 1982
13×21 – Pagine 108

Fandel Jennifer

DA-DA-DA-DUM!

Traduzione ed adattamento Roberta Scarabelli
Pagine 50 – Misure 28×20
Motta Junior – 2007
ISBN 88-8279-282-X

Farinelli Arturo

BEETHOVEN E SCHUBERT.

Biblioteca Paravia “Storia e pensiero”
Minerva – 1929 13×20 – Pagine 123

Ferrari Cavalier Ubaldo

ORAZIONE COMMEMORATIVA DI LUDOVICO VAN BEETHOVEN

Società dei concerti di Cremona
Tipografia centrale – Cremona 1927
24×18 – Pagine 20

Filippo dr. Filippi

MUSICA E MUSICISTI

Milano - Libreia Editrice G. Brigola. 1876

Fiore Carlo

BACH Goldberg -BEETHOVEN Diabelli.

Pagine 110 – 12×18 Edizioni L’ Epos Palermo 2009 – ISBN 978-88-8302-399-6

Fischer Edwin

LE SONATE PER PIANOFORTE DI LUDWIG VAN BEETHOVEN.

Edizioni de Santis Roma 1958 17×24 – Pagine 90.

Focher Artemio (A cura di) Ries Ferdinand e Wegeler Franz Gerhard

BEETHOVEN APPUNTI BIOGRAFICI DAL VIVO.

Moretti e Vitali Editori Bergamo 1993
ISBN 88-7186-039-X
15×21 Pagine 227

Focher Artemio (A cura di) Ries Ferdinand e Wegeler Franz Gerhard

BEETHOVEN APPUNTI BIOGRAFICI DAL VIVO.

Moretti e Vitali Editori Bergamo 1993
ISBN 88-7186-039-X
15×21 Pagine 227

Focher Artemio

LUDWIG VAN BEETHOVEN – 26 – 29 MARZO 1827.

Libreria Musicale Italiana
lim editrice Lucca 2001
17×23 pagine 206

Alice Fumero

Il testamento di Beethoven

LeMus2020 LIBRI Classici, poesia, teatro e critica Formato Brossura

Gagliardini Tiziana

su ALLEGRO CON BRIO – Rivista di musica, arte e filosofia a cura dell’ Orchestra Sinfonica di Roma

Pagine 56 – Misure: 21×30. Numero monografico del 5 ottobre 2006. Fondazione Arts Academy – Roma

Galla Cesare

LE SINFONIE DI BEETHOVEN.

Pagine 121 – 14×21
Accademia Olimpica Editore Vicenza – 1999

Galli A.

Musica Popolare – Inserto su Ludwig van BEETHOVEN.

Rivista Popolare – 1883 - 22×31 – Pagine 4

Gallo Concita

Tu che indovinavi Beethoven

Editore: L’Erudita Anno edizione: 2016 In commercio dal: 19 settembre 2018 Pagine: 146 p. EAN: 9788867701469

Gauthier André

LUDWIG VAN BEETHOVEN

I classici della musica - Sugar SE Edizioni

Gavazzeni Gianandrea

LE FESTE MUSICALI.

Gentile Editore – Roma 1944. Pagine 272 – 12×20

Gavazzeni Gianandrea

NON ESEGUIRE BEETHOVEN ed altri scritti.

IL SAGGIATORE – 1974 18×23 – Brossura – Pagine 100

Gavazzeni Gianandrea

NON ESEGUIRE BEETHOVEN ed altri scritti.

IL SAGGIATORE – 1974 18×23 – Brossura – Pagine 100

Gelinek Joseph

LA DECIMA SINFONIA

Arnaldo Mondadori Editore 2009
22×26 – Pagine 360
ISBN 978-88-04-59149-8
Euro 19.00

Gerald Abraham

The New Oxford History of Music: BEETHOVEN IL SUO TEMPO, LA SUA MUSICA, LA SUA EREDITA’.

ByGerald Abraham. Giangiacomo Feltrinelli Editore Milano 1991N ISBN 88-07-81307-6 13×19 Pagine 351

Gerald Abraham

The New Oxford History of Music: IL TEATRO MUSICALE NELL’ ETA’ DI BEETHOVEN.

ByGerald Abraham e Winton Dean. Giangiacomo Feltrinelli Editore Milano 1991N ISBN 88-07-81309-2 13×19 Pagine 298

Giannuzzi Guido

INVITO ALL’ ASCOLTO DI BEETHOVEN

Editore: Ugo Mursia Editore
Collana: Invito all’ascolto
Anno edizione: 2020
200 pagine
EAN: 9788842560203

Giachin Giulia

I LIEDER DI BEETHOVEN.

Casa dell’ Orso Editore – 1999 15×21 – Pagine 132

Gianturco Vito

Riflessi giuridici del II centenario beethoveniano.

Edizioni de “L’ Eloquenza” Roma via Giulio Cesare 14 1971 16×24 – Pagine 132

Giraldi Romolo

ANALISI FORMALE ED ESTETICA dei primi tempi dei quartetti Op.18

In deposito presso la Ditta Alberto De Santis - Roma.

Gioffrè Giuseppe

ATTRAVERSO LA QUINTA SINFONIA DI BEETHOVEN

9 Novembre 1947 - Roma

Giunti Giunto

BEETHOVEN – Note biografiche dello stesso.

Biblioteca della Scaramuccia Sul Poggio Pratone – Firenze Stabilimento di Giuseppe Pellas – 1889 12×19 – Pagine 32

Giusifredi Alessandro

Io sono Ludwig van Beethoven

Editore: Sonitus
Anno edizione: 2021
Pagine: 144 p., ill. , Brossura
EAN: 9788898276141

Gobbi Belcredi Anna Maria

Le vie del Mondo (Rivista mensile della consociazione turistica italiana)

Speciale Beethoven Milano – Gennaio 1940 anno VIII Era Fascista
Pagine 48 – Misure 18 x 28

Goglio Gabriella – Setti Corrado

LA STAGIONE DI MOZART E BEETHOVEN.

Collana Itinerari musicali. Lampi di stampa – Febbraio 2012 14×21 pagine 196 ISBN 884881333X

Gordimer Nadine

BEETHOVEN ERA PER UN SEDICESIMO NERO

Feltrinelli – Collana i Narratori – 2008 22×14 – Pagine 181 ISBN 978-88-07-01745-2 Euro 16.00

Green James F.

IL NUOVO CATALOGO HESS DELLE OPERE DI BEETHOVEN.

Traduzione di Cristoforo Prodan Introduzione di Sieghard Brandemburg, con una Preface del Maestro Roberto Diem Tigani Zecchini Editore Varese 17×24 – Pagine 236 – Ottobre 2006

Grieco Mario

BEETHOVEN, LA SUA VITA E LE SUE OPERE

BIBLIOTECA DEL POPOLO Casa Editrice Sonzogno, Milano 1923
Pagine 64 – Misure 15×11 Libricino della collana “Propaganda d’ Istruzione”

Grillparzer Franz

BEETHOVEN

SE SRL Milano 1995 ISBN 88-7710-321-3 11×19 Pagine 89

Grimaccia Emanuela

BEETHOVEN, WAGNER FURTWANGLER : UN TRIANGOLO FATALE.

con un’ appendice sui Filarmonici di Berlino Flavio Pagano Editore Napoli 1990 ISBN 88-85228-03-8 14×21 Pagine 70

Grisley Roberto e Bini Annalisa

Van Beethoven – LE SINFONIE E I CONCERTI PER PIANOFORTE

Fondazione Accademia Nazionale di Santa Cecilia Skira editore Milano 2001 17×24 pagine 366

Giunto Giunti

BEETHOVEN

Sul poggio Pratone - Bozzetto alpestre Firenze Stabilimento di Giuseppe Pellas 1889

Guanti Giovanni

INVITO ALL’ ASCOLTO DI BEETHOVEN.

Gruppo Mursia Editore Milano 1995
ISBN 88-425-1647-3 11×17 Pagine 558

Guanti Giovanni

INVITO ALL’ ASCOLTO DI BEETHOVEN.

Gruppo Mursia Editore Milano 1995
ISBN 88-425-1647-3 11×17 Pagine 558

Harvey Sachs

LA NONA DI BEETHOVEN.

Garzanti Libri – Collana : Saggi – 2011
ISBN: 8811600251 9788811600251
24×12 – Pagine 255

Hauser Thomas

L’ ULTIMA SINFONIA

Il giallo mondadori numero 1985 - 1967

Hellinghaus Otto

BEETHOVEN – MEMORIE DI CONTEMPORANEI – Lettere e diari.

Milano – Modernissima 10, via Vivaio – 1925.12×19 – Pagine 382

Hellinghaus Otto

BEETHOVEN – MEMORIE DI CONTEMPORANEI – Lettere e diari.

Milano – Modernissima 10, via Vivaio – 1925.12×19 – Pagine 382

Herriot Edouard

BEETHOVEN, LA SUA VITA E IL SUO TEMPO

Tarantola Editore Milano 1947 14×18 – Pagine 320 Ottima traduzione dal francese del celebre (per i suoi tempi) libro di Herriot.

Hess Willy

LE OPERE DI BEETHOVEN E LA LORO EDIZIONE COMPLETA

Traduzione di Giovanni Biamonti - Roma Tipografia Romano Mezzetti. 1953

Hevesy André De

VITA AMOROSA DI BEETHOVEN – Storie galanti e romanzesche

Edizioni Pervinca – Milano 1927 12×19 – Pagine 159

Hevesy André De

VITA AMOROSA DI BEETHOVEN – Storie galanti e romanzesche

Edizioni Ghibli – Marzo 2015
12×19 – Pagine 159 – ISBN: 8868010720 – ISBN-13: 9788868010720

Hierro José

BEETHOVEN DAVANTI AL TELEVISORE ED ALTRE POESIE

Editore: Edizioni Colophon – Anno 2006
Pagine109 – Formato: Copertina morbida – Dimensioni
13.5 x 0.8 x 21

Hofmannsthal Hugo Von

BEETHOVEN.

Graphos – Genova 1999. 14×21 pagine 81

Hofmann T.

SCRITTI MUSICALI

HURLIMANN Martin

LETTERE E COLLOQUI DI BEETHOVEN

12×17 – Pagine156N Piccola biblioteca Einaudi “Lire 50”. Longanesi & C. Milano 1950

Posts

Pages

Unv. 19 Composition (Cantata, in B major) for four voices and piano

Unv. 16 Overture to a “Macbeth” by H.J. Collin; unfinished work. (Previously Biamonti 454)

Unv. 16 Overture to a “Macbeth” by H. J. Collin; unfinished work. (Previously Biamonti 454)

The overture “Macbeth” Unv. 16 is part of the project “Research becomes Art”

Unvollendete 18 Österreich über alles, song for choir and orchestra

Unv. 17 “Europens Befreyungsstunde” — Cantata.

Unv.14 – Fragment of Piano Variations

Unv.14 – Fragment of Piano Variations

INTRODUCTION

RECONSTRUCTION OF THE VARIATIONS

Theme

Variation I

Variation II

Variation III

Variation IV

Variation V

Variation VI

Variation VII

Variation VIII

Coda

Unvollendete 12 Fantasia for Piano. (Sonata?)

Biamonti 213 / Unv. 12 is part of the project “Research becomes Art”

Books in Italian. Q – T

Quadri Enrico Maurizio

Quadri Enrico Maurizio

Quattrocchi Arrigo

Rainer José Maria Moreno Galvain

Rattalino Piero

Rattalino Piero

Rattalino Piero

Rescigno Eduardo

Rescigno Eduardo

Rescigno Eduardo

Restelli Alessandro

Ries Ferdinand e Wegeler Franz Gerhard

Ries Ferdinand e Wegeler Franz Gerhard

Riezler Walter

Riezler Walter

Rinaldi Mario

Rizzuti Alberto

Rolland Romain

Rolland Romain

Rolland Romain

Rolland Romain

Rolland Romain

Rolland Romain – Enrica Cavallo

Rohmer Eric

Ronga Luigi

Ronga Luigi

Ronga Luigi

Roselli Ciro

Roselli Ciro

ROSEN Charles

ROSEN Charles

Rossi Mattia

Ruggieri Vezio

Russel Martin

Saffaro Lucio

Sage Alison

Saglietti Benedetta

Saglietti Benedetta

Saglietti Benedetta

Saint-Cyr Mario

Salvagnini Alberto

Salvaneschi Nino

Sanguinetti Giorgio

Sanguinetti Giorgio

Sanguinetti Giorgio

Sanguinetti Giorgio

Sarale Nicolino

Scarpellini Pancrazi Francesco

SCHIFF Andràs

Schiltzer Franco

Schiltzer Franco

Schmidt-Görg Joseph Dott. Schmidt Hans

Schmitt Eric-Emanuel

Schulz Charles M

Schünemann Georg