WoO 47 – Three Piano Sonatas in E‑flat, F minor and D major
The three Sonatas, WoO 47, in E flat major, F minor, D major for piano, dedicated to Prince Maximilian Friedrich, Archbishop-Elector of Cologne, 1782-1783 (no later than October), published in Speyer, Bossler, autumn 1783. GA. nos. 156-158 (series 16/33-35) – B. 161 – KH. (WoO) 47 – L. IV, p. 337/f- Nottebohm page 147 – P.5 – Sch. p. 170/5 – Thayer 4.
But along with this immediate and direct influence, the young master reveals others: of the Mannheim school and of the Italian instrumentalists. Torrefranca refers to the latter, with more general views, while noting, as a literal detail, that the beginning of the first movement of the first Sonata, for which Schiedermair refers to a symphony by Mannheimer, literally takes up that of a violin concerto by Borghi, in the same key. It is also found in the base of the first movement of Mozart’s Piano Sonata in A minor K. 310; and in the final figure we can also recognize what Riemann calls “the Mannheim sigh” and which will become the melodic element of the last movement of the Sonata in C sharp minor op. 27 number 2 (known as the Moonlight), to which, moreover, as with numerous other moments in Beethoven’s future works for piano, they refer to ascending and descending movement figures.
[By Biamonti Giovanni – Catalogo cronologico e tematico delle opere di Beethoven comprese quelle inedite e gli abbozzi non utilizzati, Torino, ILTE 1968, pagina 406]
Composed before 14 October 1783 in Bonn. The original edition was published by Boßler in Speyer (Speyer) in the autumn of the same year. Boßler announced the publication of the three piano sonatas on 14 October 1783 in the “Magazin der Musik” edited by Carl Friedrich Cramer: “Neu fertig gewordene Werke sind bey mir zu haben: […] 4. Louis van Beethoven 3 Claviersonaten, eine vortrefliche Composition eines jungen Genies von 11 Jahren, dem Churfürsten von Cölln zugeeignet – 1 fl. 30 kr. […] Speyer, d. 14. Weinmond 1783. Bossler, Hochfürstl. Brandenb. Rath.” (Cramer/Magazine, Vol. 1, p. 1371.) Since the Sonatas had not been mentioned in a previous announcement on March 2 of the same year (see WoO 63), they had probably not yet been published (Cooper/ Piano Sonatas Vol. 1 Commentaries p. 5). A dedication to the Elector printed on the score was probably written by Beethoven’s teacher Christian Gottlob Neefe (reprinted in AmZ 38, 1836, column 148; BGA 1; TDRI p. 160). Beethoven’s age statement “Ich habe nun schon mein eilftes Jahr erreicht” is probably wrong, Beethoven did not know the truth about his age for many years. Throughout his stay in Bonn, he considered himself one year younger, and in Vienna two years younger (see Solomon/BirthYear). A copy of the original edition, used by Beethoven, with pencil-written notes on the tile page (now badly damaged): “noch vor diesem werke sind Variationen in cmoll [WoO 63] wie auch lieder [WoO 107, 108] in einem Bosslerischen journal erschienen.” ; see also the correction in Nottebohm /1868 p. 198.). This copy also contains some information on fingering and articulations, probably supplemented by Beethoven (Ladenburger Wo0 47; Cooper/Klaviersonaten Vol. 1 Commentaries p. 5.
Dedication: Maximilian Friedrich Imperial Count von Königsegg-Rothenfels, born on 13 May 1708 in Cologne and died on 15 April 1784 in Bonn, son of Imperial Count Albert Eusebius Franz von Königsegg-Rothenfels and his wife Maria Clara Felicitas, née Countess von Manderscheid-Blankenheim. Maximilian Friedrich was a canon in Cologne from 3 January 1725; on 6 April 1761 he was elected elector-archbishop of Cologne as successor to Clemens August, and on 16 September 1762 he was also elected prince-bishop of Münster. Within the Archdiocese of Cologne, the Enlightenment evperienced a transition. Under his governance, the President and Minister of State, Kaspar Anton von Belderbusch, carried out numerous reforms in administration, justice, finance, economy and culture. At the time of Maximilian Friedrich’s rule, Beethoven’s grandfather, Ludwig van Beethoven, “Die Alte” (see Michel Rouch’s articles dedicated to it) became court director in July 1761. Maximilian Friedrich was also the young Beethoven’s first employer. Coadjutor and successor of Maximilian Frederick (from 1780) was Archduke Maximilian Franz von Habsburg-Lothringen (1756-1801), younger brother of Emperors Joseph II and Leopold II and Queen Marie Antoinette. (Clive/Dictionary.)
First execution unknown. Authors and scattered sketches. First edition 1783 (autumn). Speyer, Bossler, VN/PN 21. — Title: “”Drei / Sonaten / fürs / Klavier / dem / Hochwürdigsten Erzbischofe / und / Kurfürsten zu Köln / Maximilian Friedrich / meinem gnädigsten HERRN / gewidmet und verfertiget / von Ludwig van Beethoven / alt eilf Jahr. / [middle:] Speier / In Rath Bosslers Verlage.
Engraved frontispiece (ornamental title with an electoral coat of arms in a neoclassical frame and a dedication page, both in Gothic characters). 26 pages. P. 1-8: “SONATA I.”, P. 9-15: “SONATA II.”, P. 15-26: “SONATA III.” Personal copy: GB-Lbl (Add. Ms. 41631, ex Otto Jahn). With handwritten annotation on the title page and further entries (see provenance and publication). Although the dedication page is printed on the back of the title page, it is likely to be an earlier copy than the copies listed in the later Edition (see Ladenburger/ Wo0 47).
WoO 47 number 1 Piano Sonata in E-flat major
I) Allegro cantabile – II) Andante – III) Rondò – Vivace
WoO 47 number 2 Piano Sonata in F major
I) Larghetto maestoso Allegro Assai – II) – Andante – III) Presto
WoO 47 number 3 Piano Sonata in D major
I) Allegro – II) Menuetto con variazioni – III) Scherzando Allegro ma non troppo
Sketches
Sketch for the first movement of the piano sonata in F minor, WoO 47, number 1. The original manuscripts of these works are lost; however, a sketch of the first part of the Allegro of the first sonata, reported by Nottebhom, (Zweite Beethoveniana, II, pages 564 and following) and by Prod’Homme, is wrote on a sheet containing that of the song Klage, preserved in the archives of the Society of Friends of Music in Vienna. Another sketch, by Prestissimo, from a private collection, is also cited by Prod’homme.
[By Biamonti Giovanni – Catalogo cronologico e tematico delle opere di Beethoven comprese quelle inedite e gli abbozzi non utilizzati, Torino, ILTE 1968]
Als frühe, längst vor dem Jahre 1800 entstandene Com-positionen nennen wir nach vorhandenen Skizzen noch die Melodien des achten und zwölften von den i. J. 1803 erschienenen zwölf Contrertänzen.
Eine Skizze zum Anfang der ersten der mit Opuszahlen versehenen Claviersonaten darf wohl als eine Merkwürdigkeit betrachtet werden. Hier ist sie.
Uebereinstimmendes mit der gedruckten Form bietet die Skizze genug:. Anfang und Ende des ersten Theils des Sonatensatzes sind im Wesentlichen festgestellt. Aber auch Abweichendes kommt vor. (In der Vorzeichnung hat man sich ein b hinzuzudenken.) Das Hauptmotiv und die im 2. Takt eintretenden begleitenden Accorde setzen in der Skizze auf guten Takt-theilen ein, correspondiren also insofern rhythmisch miteinander. Im Druck hingegen hat das Hauptmotiv bei seinem ersten Eintritt einen Auftakt, die Begleitungsfigur eine Vorpause bekommen. Die Mitte fällt auf den ersten Blick durch ihre Verschiedenheit vom Druck auf. Im Druck herrscht das melodische Wesen, in der Skizze Passagenwerk vor. Wenn man jedoch die harmonische Grundlage dieses Passagenwerks aufsucht, so wird man finden, dass dieser im Druck verwendete Bassgang darin versteckt ist.
Das Blatt, auf dem die Skizze vorkommt, enthält eine Randbemerkung
noch ein halbes Jahr in dem C. — [Contrapunkt] und er kann arbeiten was er will
“Notes in the Dark” – suggestions and comparisons for quality Beethoven listening
With a slide of the recordings mentioned in the article – Edited by the YouTube channel SecondAVitA.