WoO 036 – 3 Quartets in E flat major, D major and C major for piano, violin, viola and cello
WoO 36, 3 Quartets in E flat major, D major, C major for piano, violin, viola and cello, 1785, published in separate parts in Vienna, Artaria, 1828; in score in Leipzig, GA., 1864. GA. nos. 75-77 (series 10/2-4) – B. 152 – KH. (WoO)36 L. IV, p. 360/k – N. p. 142 – P. 12 – Sch. p. 179/9.
Official title: WoO 36 Drei Quartette (Es-dur, D-dur, C-dur) für Klavier, Violin, Viola und Cello Widmung: – NGAIV/1 AGA 75-77 = Series 10/2-4
In these pieces we find several Mozartian analogies; in the same way, we find rhythmic and melodic elements that Beethoven will employ in future compositions. In the Quartet in E flat major the theme of the Allegro is identified, already present in the sketch of the Symphony in C minor referred to in the previous number, then recalls the Finale of the Symphony in G minor K. 550 and the First Movement of the Sonata in C minor K. 457 by the Salzburger, and finally precedes the beginning of Beethoven’s Piano Sonata op. 2 no. 1 in F minor, and the Scherzo of the Fifth Symphony. The Second Theme, with modified rhythmic phrasing, will become a substantial element of the first and last movement of the Pathetic Sonata. The clear thematic formulations of the Allegro moderato of the Quartet in D major make one think of the Second Symphony, while in the Rondo one can hear the Movement of the Finale of the Sonata in D minor op. 31 n. 2. And as far as the Quartet in C major is concerned, it is easy to see — even leaving aside other analogies — how the Theme of the Adagio has also passed, with different developments, into the corresponding of the First Sonata of op. 2. These Quartets are, together with the transcription of op. 16 compositions written by Beethoven alone for the particular piano ensemble and three string instruments.
The original manuscript is preserved in the Deutsche Staatsbibliothek in Berlin.
WoO 36 3 Quartets in E flat major, D major, C major for piano, violin, viola and cello – Frontispiece
Sketch (13 bars) for the beginning of the 1st movement of No. 2. First Page
Sketch (13 bars) for the beginning of the 1st movement of No. 2. Second Page
Beethoven dated the autograph score of the quartets “1785”. Because he long believed that 1771 was the year of his birth, the manuscript contains a confusing indication (Solomon/BirthYear). Several doubts have been raised about the authenticity of these manuscripts, later refuted by Hans-Günter Klein and Douglas Johnson (Klein/Autographe pp. 115-124; and also, Holschneider/sketches pp. 445-447).
In 1794/95 Beethoven used some of the musical material from the WoO 36 Quartet No. 3 to compose the Piano Sonatas op. 2 no. 1 and no. 3 (see Op. 2). Between 1786 and 1790 he used the 2nd movement theme (Allegro con spirito) from the quartet WoO 36 No. 1 and used it for the unfinished Symphony in C minor Unv. 1 – Hess 298 (for dating cf. Johnson /Fischhof vol. 1 p. 221f and Kerman/Kafka vol. 2 p. 291).
The numbering of the quartets follows (as in KH) the First edition. In the autograph score, however, they are found in the sequence C major, E flat major, D major. The NGA follows this order.
Of a four-handed arrangement of the three quartets conceived by the Artaria publishing house that should have seen the light at the same time as the first edition, only the first Quartet was published and regularly announced in the Gazette (contrary to what is reported in B&H/1851 and Nottebohm/1868). It was not until around 1870 that Friedrich Kistner in Leipzig published a four-hand arrangement of all three quartets by Carl Geissler (plate numbers 3138-3140).
When the Quartets were published in France, there was a conflict between the publishers Farrenc and Pacini. Both editions of the opera were publicized in 1829 at intervals of about three months in the “Bibliographie de la France” (Farrenc 17 January 1829, Pacini 11 April 1829) and in the “Revue musicale” edited by Fetis (Series 1, Tome 4, 1828/ 29, January 1829). , p. 552, or Tome 5, 1829, March 1829, p. 189). Farrenc raised an objection in the Revue musicale (Tome 5, 1829, April 1829, p. 283) of 3 April 1829: he had bought the rights for France from Artaria, the plates of Pacini’s unauthorized reprint (after Artaria) were destroyed (“ont été brisées”). Pacini’s edition was nevertheless marketed (perhaps later). First execution unknown.
In the D-BNba the theme of the 2nd movement of Quartet No. 1 is found on a sheet of sketches from around 1794 (NE 105).
Score: D-Bb, Mus. SM. autogr. Beethoven Artaria 126. Date: “1785”. On folio 53 there is an additional sketch of a score (13 bars) for the beginning of the 1st Movement of No. 2 (Allegro). Title: p. 1 “trois / quatuors / pur le clavecin / violin, viola / e / Basses / 1785”, rechts unten “compose / par [de] luis van Beethoven / agé 13 [read: 14] ans”. Size: 53 sheets; P. 1 title, pp. 2-28 n. 3 (“quartet I”), pp. 29-60 n. 1 (“quartet II”; p. 37 counted several times due to an original superimposition: empty spine of p 37 as p. 37a, followed by p. 37b and 38 with musical text), p. 56 empty, p. 61-97 n. 2 (“quartet III” (p. 61 and 67 counted several times due to an original superimposition: p. 61 Beginning of sentence, blank back on p. 61a, the beginning of the sentence follows again on p. 61b, then p. 62; back of p. 67 counted as 67a, followed by p. 67b and 68), p.98 empty, p.99f sketch score (13 bars) for the beginning of the 1st movement of no.2.
Provenance: Verlagsarchiv Artaria, Vienna. Number 166 of the 1927 auction. Acquired in 1827 (Johnson/Artaria, p. 205). – Erich Prieger, Bonn, from 1897. – Acquired in 1901. Fax: SBB/online. Descriptions: Klein/Catalogue page 159. First Edition (parts): 1828 (November). Wien, Artaria et Comp., VN/PN 2957-2959. – Titel: “TROIS / QUATUORS / originaux / pour / Pianoforte, / Violon, Alto et Violoncelle / composes / PAR / L. VAN BEETHOVEN. / Oeuvre posthume. / N° I [II, III] / [Block 1.:] N°. 2957. / 2958. / 2959. [Mitte:] Proprieté des Éditéeurs. [r.:] Pr. f 1 30 x. C. M. / Vienne, / chez Artaria et Comp.”
WoO 36 First Quartet in E flat major for piano, violin, viola and cello
Adagio assai – Allegro con spirto – Cantabile
WoO 36 First Quartet in E flat major for piano, violin, viola and cello – Adagio assai (to notate “II”)
WoO 36 First Quartet in E flat major for piano, violin, viola and cello – Allegro con spirto
WoO 36 First Quartet in E flat major for piano, violin, viola and cello – Cantabile
WoO 36 Second Quartet in D major for piano, violin, viola and cello
Allegro moderato – Andante con moto – Rondo/Allegro
WoO 36 Second Quartet in D major for piano, violin, viola and cello – Allegro moderato
WoO 36 Second Quartet in D major for piano, violin, viola and cello – Andante con moto
WoO 36 Second Quartet in D major for piano, violin, viola and cello – Rondo/Allegro
WoO 36 Third Quartet in C major for piano, violin, viola and cello
Allegro vivace – Adagio con espressione – Rondo/Allegro
WoO 36 Third Quartet in C major for piano, violin, viola and cello – Allegro vivace
WoO 36 Third Quartet in C major for piano, violin, viola and cello – Adagio con espressione
WoO 36 Third Quartet in C major for piano, violin, viola and cello – Rondo/Allegro
“Notes in the Dark” – suggestions and comparisons for quality Beethoven listening
With a slide of the recordings mentioned in the article – By the YouTube channel SecondAVitA