BEETHOVEN, Ludwig van, 1770-1827

[Missa Solemnis, orch, chorus, op.123] Missa Solemnnis Op. 123. Facsimile of the Autograph Score in the Staatsbibliothek zu Berlin—Preußischer Kulturbesitz. With a commentary by Hans-Joachim Hinrichsen and Martina Rebmann. _☟

Documenta Musicologica, II/51. Kassel, 2016. Oblong, 45 x 40 cm, 351, 27 pp. Deluxe 4-color facsimile of the autograph working score. William Drakbin describes the genesis of the mass as “the longest, most arduous struggle in Beethoven’s career as an artist”, with equally complex history of its sale to B. Schott after years of calculating with other publishers. 4 of the 5 movements of the Missa Solemnis survive today, the Kyrie, 50 pp in upright format, and the last three movements, Credo, Agnus and Sanctus, 286 pp in oblong format. The Gloria unfortunately disappeared soon after Beethoven’s death. Deluxe edition with leather spine. $895 (more info... ) [item no.9506]

[Concerto, piano, orch, no.3, op.37, C minor] Konzert für Klavier und Orchester Nr.3 c-Moll, opus 37. Faksimileausgabe der autographen Handschrift der Staatsbibliothek zu Berlin – Preussischer Kulturbesitz, Musikabteilung mit Mendelssohn-Archiv. Mit einem Geleitwort von Mitsuko Uchida. Herausgegeben und kommentiert von Elisabeth Schmierer. _☟

Meisterwerke der Musik im Faksimile, 45. Laaber, 2018. Oblong, 32 x 24 cm, 22, 240 pp. Facsimile, in full-color, of the autograph manuscript preserved in the State Library, Berlin. The piece was composed in 1799-1800 and first performed—Beethoven playing from short score—April 5, 1803. Scholars have pointed out that Mozart's C Minor Concerto K.491, which Beethoven played in public concerts, bore an influence on Beethoven's Concerto. Hardbound. $558 (more info... ) [item no.9508]

[Quartet, strings, op.59, 1st ed.] Trois quatuors pour deux violons, alto et violoncello. Œeuvre 59me [The “Rasumovsky” Quartets]. [private collection]. _☟

Performers’ Facsimiles, 280. New York, [2011]. 27 x 35 cm, 4 partbooks, c.136 pp. Line-cut of Vienna [1808] edition (Au Bureau des arts et d'industrie A.' Pesth chez Schreyvogel & Comp. plate nos. 580.584.585). Wrappers. $50 [item no.9215]

[Quartet, strings, op.130, no.13, B-flat major; Great Fugue, op.133] Streichquartett B-dur op.130 / Grande Fugue B-dur Op.133. Autograph: Staatsbibliothek zu Berlin—Preussischer Kulturbesitz; Moravské Zemské Muzeum, Brno; Badische Landesbibliothek, Karlsruhe; Biblioteka Jagiellońska, Kraków; Bibliothèque Nationale de France, Paris; Library of Congress, Washington, D.C. Commentary - Kommentar Ulrich Konrad. _☟

Documenta Musicologica, II/55. Kassel, 2019. Oblong, 4°. viii, 252, 26 pp. Full-color facsimile of the autograph, dispersed now among six libraries around the world (movt I - Bibl. Jagiellońska Kraków; II - Library of Congress Washington; III - Bibliothèque Nationale Paris & Badische Landesbibl. Karlsruhe; IV - Maravské zemské muzeum Brno; V & VI - Staatsbibliothek zu Berlin. The autograph ranges from fair copy to composing copy and includes 7 paste-over corrections (2 of them full page), meticulously reproduced in this exceptional facsimile. A truly remarkable contribution to Beethoven research and gift to Beethoven lovers, this facsimile reunites the various movements after 190 years. Commentary in Eng-Ger. Quarter leather with boards in decorative paper. $425 (more info... ) [item no.9596]

[Quartet, strings, op.132, no.15, A minor] Streichquartett a-moll op.132. Vollständige Faksimileausgabe der Handschrift Mus. ms. autogr. Beethoven Mend.-Stift. 11 der Staatsbibliothek zu Berlin—Preußischer Kulturbesitz. Vorwort von András Schiff, Einleitung von Ernst Herttrich. _☟

[Henle Music Facsimiles, 22]. Munich, 2011. Oblong, 35 x 29 cm, 168, xxiv pp. Beautiful 4-color halftone. The heart of Beethoven’s Quartet op. 132 is the “Holy song of thanksgiving”, in which Beethoven takes up old counterpoint techniques and Gregorian simplicity. In this unusually beautiful and well preserved manuscript, Beethoven generously makes the most of the space on its pages. The lavish 4-color printing allows the composer’s occasionally unconventional manner of notation to come to life. It permits a unique insight into the creative process, which continued after it had been written down in the form of multiple additions and changes. The edition is rounded off with a preface by the pianist András Schiff, with his generous support this valuable facsimile was made possible. Hardbound. $190 (more info... ) [item no.9189]

[Romance, violin, orch, op.50, F major] Romanze für Violine & Orchester F-Dur op.50. Faksimile nach dem Autograph der Library of Congress in Washington. Mit einer Einleitung von Stefan Drees. _☟

Meisterwerke der Musik im Faksimile, 20. Laaber, 2011. Oblong, 32 x 24 cm, xvi, 32 pp. Facsimile, in full-color, of the autograph fair copy, dated by different authorities as either 1798 of 1802. Introduction in Ger-Eng. Hardbound with decorative paper boards. $104 (more info... ) [item no.9264]

[Sonata, piano, no.23, op.57, F minor] Klaviersonate “Appassionata” f-moll op.57. Faksimile nach dem Autograph der Bibliothèque Nationale de France, Paris. Mit einer Einleitung von Wolfram Steinbeck. _☟

Meisterwerke der Musik im Faksimile, 21. Laaber, 2011. Oblong, 32 x 24 cm, xxiv, 48 pp. Full-color halftone of the composer’s autograph (1805-1806), a fair copy with numerous corrections. The autograph contains a fascinating note written by Paul Bigot (husband of the pianist Marie Bigot) which sheds light on the provenance of the ms: "During the journey, he [Beethoven] was surprised by a storm and driving rain, which soaked through the case in which he carried the Sonata in F minor which he had just composed. Following his arrival in Vienna he visited us and, laughing, showed the still wet composition to my wife, who took a closer look at it. Moved by the surprising beginning she sat down at the piano and begin to play it. Beethoven had not expected this and was surprised to see how Mad. Bigot did not let herself be stopped for a moment by the many erasures and changes which he had made. It was the original which he was in the process of taking to the publisher so that it could be engraved. When Mad. Bigot had played it and asked him to give it to her, he agreed and faithfully brought it back for her once it had been engraved". The autograph passed from the Bigot family to the Conservatoire de Musique, and then to the BN in Paris. Introduction in Ger-Eng. Hardbound with handsome paper boards. $126 (more info... ) [item no.9265]

[Sonata, piano, no.30, op.109, E major] Klaviersonate E-Dur op.109. Faksimile nach dem Autograph der Library of Congress, Washington, D.C. Mit einem Kommentar von Siegfried Mauser. _☟

Meisterwerke der Musik im Faksimile, 14. Laaber, 2011. Oblong, 31 x 24 cm, xv, 40 pp. Facsimile, in full-color, of the autograph fair copy manuscript (with corrections) entitled “Sonate für das Hammerklavier” and dedicated to his friend Antoine Brentano, also the dedicatee of the Piano Trio WoO 39. This is the first sonata—completed in the fall of 1820—of a trilogy (op.109, 110 & 111) promised to the publisher Schlesinger with operations in Paris and Berlin. Introduction in Ger-Eng. Hardbound with decorative paper boards. $116 (more info... ) [item no.9090]

[Sonata, piano, no.31, op.110, Ab major] Klaviersonate As-Dur op.110. Faksimile nach dem Autograph der Staatsbibliothek zu Berlin Preußischer Kulturbesitz. Mit einem Kommentar von Siegfried Mauser. _☟

Meisterwerke der Musik im Faksimile, 15. Laaber, 2011. Oblong, 32 x 24 cm, xx, 58 pp. Full-color halftone of the composer’s autograph—simultaneously a fair and working copy—completed on Dec. 25, 1821. Although the last piano sonatas op.109, 110 and 111 were planned as a trilogy and offered to the publisher Schlesinger, their composition was not continuous, and it is op.110 that has certain unmistakable links with the Missa Solemnis composed at the same time (sketches of op.110 can be found alongside those of the Credo, the Agnus dei & Dona nobis pacem of the Mass). The sonata was ultimately published by Schlesinger in September of 1822. Introduction in Ger/Eng. Hardbound with handsome boards in grey patterned paper. $158 (more info... ) [item no.9091]

[Sonata, piano, no.32, op.111, C minor] Klaviersonate c-Moll op. 111. Das Faksimile Faksimile nach dem Autograph der Staatsbibliothek zu Berlin Preußischer Kulturbesitz. Mit einem Kommentar von Siegfried Mauser. _☟

Meisterwerke der Musik im Faksimile, 16. Laaber, 2011. Oblong, 32 x 24 cm, xv, 42 pp. Facsimile, in full-color, of the autograph manuscript completed in the spring of 1822. Compared to the previous sonatas of the trilogy (op.109, 110 & 111), op.111 had a rather long correction and printing period. After the Schlesinger (son & father) editions appeared in Paris and Berlin respectively Beethoven angrily had the Viennese publisher Diabelli issue a corrected reprint. Introduction in Ger-Eng. Hardbound with decorative paper boards. $130 (more info... ) [item no.9092]

[Sonata, violoncello, piano, op.69, A major] Sonate für Violoncello und Klavier op.69, 1. Satz. Faksimile des Autographs NE 179 im Beethoven-Haus Bonn kommentiert und herausgegeben von Jens Dufner und Lewis Lockwood / Sonata for Violoncello and Piano Op.69, 1. Movement. Facsimile of Autograph NE179 in the Beethoven-Haus Bonn. Edited and with a Commentary by Jens Dufner and Lewis Lockwood. [Beethoven-Haus, Bonn, formerly private library of Felix Salzer, New York]. _☟

Veröffentlichungen des Beethoven-Hauses, III/20. Bonn, 2015. Oblong, 36 x 28 cm, 18 facs, 36 pp. (revision/reissue of Veröffentlichungen des Beethoven-Hauses, Band III/7, with expanded commentary). Beautiful 4-color halftone of the first movt. This outstanding new full-color facsimile shows many details that can not be seen in the old black-and-white reproduction. Together with a reconstruction of the 1st version and commentary in Ger-Eng. Wrappers, in decorative paper. $70 (more info... ) [item no.9436]

[Symphony, no.5, op.67, C minor, 1st ed.] [Fifth Symphony] Sinfonie pour 2 violons, 2 violes, violoncelle e contre-violon; 2 flûtes, petite flûte, 2 hautbois, 2 clarinetts, 2 bassons, contre-basson, 2 cors, 2 trompettes, timbales et 3 tromps. No 5 des Sinfonies. Oeuv.67. [Nederlands Muziek Instituut, The Hague]. _☟

Performers’ Facsimiles, 300. New York, [2011]. 27 x 35 cm, 23 partbooks, 134 pp. Line-cut of the Breitkopf & Härtel edition, pl. no. 1329, Leipzig, 1809. $95 [item no.9231]

[Symphony, no.7, op.92, A major] Symphonie Nr.7, A-Dur, op. 92. Faksimile nach dem Autograph aus der Biblioteka Jagiellońska, Kraków. Herausgegeben und eingeleitet von Oliver Korte. Mit einem Geleitwort von Lothar Zagrosek. [Mus. ms. autogr. Beethoven. Mendel.-Stift. 9]. _☟

Meisterwerke der Musik im Faksimile, 51. Laaber, 2017. Oblong, 32 x 24 cm, 28; 256 pp. Color reproduction of autograph score of Beethoven's Symphony No.7. The work was composed between the period of September 1811 to mid 1812, and its premiere took place on December 8 at the Viennese Universitätssaal together with the premiere of Wellington's Victory. While two copyist manuscripts survive with Beethoven's markings—one of them the fair copy in the hand of Anton Diabelli prepared for the first edition of the publisher Sigmund Anton Steiner—the autograph produced here in facsimile has a very special place because it preserves to a very great extent the text of op. 92 in its final form. This is the conclusion of Jonathan del Mar, based on the type of corrections and modifications seen in the autograph, modifications that were ostensibly transferred to the score during the first rehearsals. Afterword in Ger-Eng. Bound in black linen, with slipcase. $498 (more info... ) [item no.9543]

[Symphony, no.9, op.125, D minor] Sinfonie No.9 op.125. Autograph. Staatsbibliothek zu Berlin—Preussischer Kulturbesitz, Beethoven-Haus Bonn, Bibliothèque National de France. Commentary by / Kommentar von: Lewis Lockwood, Jonathan Del Mar, Martina Rebmann. _☟

Documenta Musicologica, II/42. Kassel, 2/ 2019. 37 x 40 cm, viii, 436, 42 pp. Full-color facsimile of the autograph fair copy in the original format. With his Ninth Symphony Beethoven ventured into new musical dimensions. In the final movement soloists and chorus join forces with the orchestra and Schiller’s “Ode to Joy” becomes a global aspiration, a declaration: “Alle Menschen werden Brüder” (all mankind becomes brothers). In his commentary the Beethoven scholar Lewis Lockwood describes the plea which Beethoven wanted to deliver at that time with this work and how views of this have changed over the centuries. Jonathan Del Mar, editor of Beethoven’s works, comments on noteworthy passages in the autograph manuscript and allows the reader to share in the composer’s working process. Already the large-format paper which Beethoven used for some passages makes the large forces clear. Cuts, sometimes reversed later, show how he wrestled with the final version of the musical text and refined it right down to the last detail. The history of the autograph manuscript reflects an episode in German history: after storage in various places because of the war, the major parts were returned to Berlin but were initially divided by the Berlin Wall and only reunited in 1990. Martina Rebmann, director of the Music Department at the Staatsbibliothek in Berlin traces this story. For the first time the facsimile present all the parts of the manuscript including pages preserved in Bonn and Paris as well as the trombone and contrabassoon parts. Hardbound, with decorative paper and linen spine. Commentary in Eng-Ger-Jap. Special OMI price. $995 (more info... ) [item no.9595]

[Trio, piano, vln & vc, op.97, Bb minor, “Archduke”] Klaviertrio B-dur Opus 97 “Erzherog”-Trio. 1. und 2. Satz. / 3. und 4. Satz. Faksimile nach dem Partiturautograph Biblioteka Jagiellonska, Krakau. Geleitwort von Mitsuko Uchida. Einleitung von Julia Ronge. _☟

[Henle Music Facsimiles, 28]. Munich, 2019. Oblong & upright, 34 x 26, 26.5 x 39 cm, 2 vols, xx, 34; 32 pp. Beautiful 4-color halftone of the “Archduke” Trio, a work dedicated to Archduke Rudolph of Austria, and regarded as the greatest of all works for this combination of instruments. The Trio in B-flat was probably performed at the Archduke's palace soon after it was written, but its public premiere did not take place until April 11, 1814, on which occasion the violinist was Ignaz Schuppanzigh (leader of the famous string quartet that introduced many of Beethoven's quartets and later some of Schubert's), the cellist was Joseph Linke (for whom Beethoven composed sonatas), and the pianist was Beethoven himself, in his last public appearance at the keyboard (Richard Freed). It’s unclear whether this autograph, with inscription “Trio am 3ten März 1811”, is actually from 1811 or whether the inscription was added later. Despite the presence of editorial/publisher’s markings this copy does not seems to to have served as the faircopy. Hardbound with decorative paper boards and pasted title etikette, produced on the occasion of the 250th anniversary of Beethoven birth. $196 (more info... ) [item no.9604]

[sketchbooks, composition studies with Haydn, Albrechtsberger, Salieri] Kompositionsstudien bei Joseph Haydn, Johann Georg Albrechtsberger und Anton Salieri. Herausgegeben von Julia Ronge. 1. Transkriptionen; 2. Kritischer Bericht; 3. Reproduktionen der Handschriften. _☟

Beethoven Werke, XIII/1. Munich, 2014. Oblong, 31 x 27 cm, 3 vols, xv, 307; 93; 201 pp. When Beethoven moved to Vienna in 1792, almost immediately, and likely pre-arranged, he started composition studies with Haydn, who had been freed from his post with the Esterhazys and was now living in Vienna. The studies—exercises in free counterpoint but also concerned with the conception of a piece, movement structure, proportions of the various parts and the art of “sketching”—lasted until 1794 when his teacher recommended additional studies with Albrechtsberger; with him Beethoven acquired a wide range of technical and compositional tools building on the earlier study. In 1801 Beethoven then turned to Salieri to learn the technique of setting primarily Italian texts to music, an area not covered in the preceding studies. The present volume reproduces for the first time the surviving manuscripts that record those studies. These are remarkable witnesses showing Beethoven under the watchful eyes of his teachers with illuminating comments, corrections or alternative passages. Facsimile, transcription and commentary, 3 volumes, linen bound. $833 (more info... ) [item no.9393]

[sketchbook, “Grasnick 5”] Grasnick 5: Beethoven’s Pocket Sketchbook for the Agnus dei of the Missa Solemnis, Opus 123. [Facsimile Edition] Transcribed, Edited, and with a Commentary by Patrizia Metzler and Fred Stoltzfus. [Staatsbibliothek zu Berlin]. _☟

Beethoven Sketchbook Series, [3]. Champaign, 2016. Oblong, 38 x 28 cm, 144 pp. Color facsimile of a pocket sketchbook acquired by the Berlin Royal Library in 1879 as part of the holdings of Friedrich August Grasnick, a gentleman scholar & music collector. Long neglected in scholarship, the so-called Grasnick 5 documents reveal Beethoven working out concepts and ideas, offering fascinating insights into his creative method. This critical edition, the third in the Beethoven Sketchbook Series, offers a facsimile and transcription, spread out side by side, of the contents of the stitched pocket sketchbook started by the 50-year-old master during the summer of 1820. At the time, Beethoven labored over the Missa solemnis, Opus 123. The sketchbook's pages yield the entire record of his early ideas on the Agnus Dei of that work as well as a sketch for part of the Benedictus. Includes 5 pages from Artaria 205, also in side-by-side facsimile-transcription layout. Clothbound. $95 (more info... ) [item no.9490]

[sketchbook, “Landsberg 6”] Beethoven’s “Eroica” Sketchbook. A Critical Edition. Transcribed, Edited, and with a Commentary by Lewis Lockwood and Alan Gosman. Volume 1: Facsimile; Volume 2: Transcription, Commentary, Inventory. _☟

Beethoven Sketchbook Series, [2]. Champaign, 2013. 4˚, 2 vols. Complete halftone reproduction and critical edition of the MS, currently in Kraków at the Biblioteka Jagiellońska (formerly Berlin, Staatsbibliothek, Mus. ms. aut. Beethoven Landsberg 6). Once known as “Notierungsbuch E”, Landsberg 6 is perhaps Beethoven’s most famous sketchbook due in part to Nottebohm’s 1880 monograph on this source. This sketchbook documents Beethoven's creative work from sometime late in 1802 until early in 1804, a transformative period in his artistic career. The most significant sketches are those for the “Eroica” Symphony, op.55, the “Waldstein” Sonata, op.53, and for the first five numbers of the opera Leonore as produced in 1805 (later revised and renamed Fidelio). Hardbound. $200 (more info... ) [item no.9266]

[Appel, Bernhard R. & Julia Ronge] Beethoven liest. Herausgegeben von Bernhard R. Appel und Julia Ronge. _☟

Veröffentlichungen des Beethoven-Hauses, IV/28. Bonn, 2016. 8˚, 333 pp. Hardbound. $76 [item no.6808]

[Appel, Bernhard, et al] Beethoven und der Wiener Kongress (1814/15). Bericht über die vierte New Beethoven Research Conference Bonn, 10. bis 12. September 2014. _☟

Veröffentlichungen des Beethoven-Hauses, IV/26. Bonn, 2016. 8˚, 334 pp. Hardbound. $76 [item no.6803]

[Appel, Bernhard, et al] Widmung bei Haydn und Beethoven. Personen—Strategien—Praktiken. Bericht über den Internationalen musikwissenschaftlichen Kongress Bonn, 29. September bis 1. Oktober 2011. _☟

Veröffentlichungen des Beethoven-Hauses, IV/25. Bonn, 2015. 8˚, 343 pp. Hardbound. $94 [item no.6790]

Bettermann, Silke. Beethoven im Bild. Die Darstellung des Komponisten in der bildenden Kunst vom 18. bis zum 21. Jahrhundert. Bonn, 2012. _☟

Bonn, 2012. 8°, 416 pp. Comprehensive overview of the encounter between visual artists and Beethoven, ranging from early authentic portraits to modern contemporary interpretations. Includes various genres, painting, graphic art, sculpture, memorial art, medals as well as performance art. With 235 illustrations. Hardbound. $135 (more info... ) [item no.9298]

Bonner Beethoven-Studien, Band 9. Herausgegeben von Bernhard R. Appel. _☟

Veröffentlichungen des Beethoven-Hauses, V/9. Bonn, 2011. 8˚, 235 pp. Luigi Bellofatto, Armando Orlandi: Beethoven and the Art of Horology. The watches of Beethoven, Tobias Haslinger and Alexander W. Thayer; Silke Bettermann: Das Beethoven-Porträt von Christoph Heckel; Martin Blindow: Die Beziehungen zwischen den Hofkapellen Bonn und Münster am Ende des 18. Jahrhunderts; Klaus Kanzog: Eroica 1949. Ein Beethoven-Film im Zeichen der "Moralischen Wiederaufrüstung"; Jin-Ah Kim: Die Kanonisierung von Beethovens-Symphonien 1800-1840; Klaus Martin Kopitz: Beethovens Jugendliebe Johanna von Honrath (1770-1823). Ein Beitrag zu ihrer Biographie; Michael Ladenburger: Neue Dokumente zu zwei Kopisten am Bonner kurfürstlichen Hof und ihrer Zusammenarbeit mit Beethovens Vater; Michael Lorenz: Die "Enttarnte Elise". Elisabeth Röckels kurze Karriere als Beethovens "Elise"; Christine Moos: Von "unverständlich" bis "genial" – Kleine Auslese zur Beethoven-Rezeption in Musikzeitschriften und -zeitungen des 19. Jahrhunderts. Ein DFG-Projekt im Beethoven-Haus Bonn; Egon Voss: Neues über Beethovens "Drei Duos" WoO 27. Nachtrag zum Gesamtausgabenband "Kammermusik mit Blasinstrumenten". Wrappers. $48 [item no.6828]

Bonner Beethoven-Studien, Band 10. Herausgegeben von Bernhard R. Appel. _☟

Veröffentlichungen des Beethoven-Hauses, V/10. Bonn, 2012. 8˚, 206 pp. Theodore Albrecht: Otto Heinrich Graf von Loeben (1786-1825) and the Poetic Source of Beethoven's Abendlied unterm gestirnten Himmel, WoO 150; John Clubbe: Beethoven contra Napoleon? The Akademie of December 22, 1808, and its Aftermath; Hugh Macdonald: Berlioz Discovers Beethoven: a new letter; Emil Platen: Beethovens letzte Streichquartette und der Verleger Maurice Schlesinger; Julia Ronge: Beethovens Kompositionsstudien bei Haydn, Albrechtsberger und Salieri; Federica Rovelli: The Rondos of Beethoven's Sonata Opus 53. Compositional process and formal conception; Rita Steblin: Beethoven Mentions in Documents of the Viennese Tonkünstler-Societät, 1795 to 1824. Wrappers. $48 [item no.6829]

Bonner Beethoven-Studien, Band 11. Herausgegeben von Bernhard R. Appel. _☟

Veröffentlichungen des Beethoven-Hauses, V/11. Bonn, 2014. 8˚, 214 pp. Bodo Bischoff: Komponieren als Denken in Möglichkeiten. Zu Funktion und Ausformung der "Teufelsmühle" in ausgewählten Werken Beethovens aus der Zeit zwischen 1790 und 1806; Sian Derry: Piecing Together a Mystery. Beethoven and His Fingering Indications for the Fourth Piano Concert op. 58; Jens Dufner: Schreibdialoge. Beethoven und sein Kopist Joseph Klumpar; John Paul Ito: Johann Michael Sailer and Beethoven; Nors S. Josephson: Auf höherer Ebene frei schwebend. Zu statisch-modalen Höhepunkteffekten der Duchführungen in Beethovens späten Streichquartetten; Joel Lester: What Beethoven might have learned from J.S. Bach; Lewis Lockwood: Beethoven as Sir Davison. Another Look at hisRelationship to the Archduke Rudolph; Jürgen May: Eine Bagatelle und andere Kleinigkeiten. Zur Überlieferung von Beethovens WoO 59 im Kontext der Beethoveniana aus dem Besitz Therese von Drosdicks; Luigi Bellofatto / Armando Orlandi: Beethoven and the Art of Horology. Addenda and Corrigenda; Egon Voss. "So pocht das Schicksal an die Pforte!" Überlegungen zu Anton SchindlersÄußerungen über den Beginn von Beethovens 5. Symphonie. Wrappers. $48 [item no.6830]

Bonner Beethoven-Studien, Band 12. Herausgegeben von Bernhard R. Appel. _☟

Veröffentlichungen des Beethoven-Hauses, V/12. Bonn, 2016. 8˚, c.200 pp. Julia Ronge: Sieghard Brandenburg in memoriam; Johannes Gebauer: Zur Entstehung eines Klassikers. Die Aufführungen von Beethovens Violinkonzert op. 61 von der Uraufführung bis 1844; Friederike Grigat: Kritische Musikalienbiographie. Zur Identifizierung und Datierung von Musikdrucken der Beethoven-Zeit;Ulrich-Konrad: Der "Bonner" Beethoven; Michael Ladenburger: Ein stummer Zeuge oder Neuer Überlegungen zu einem viel diskutierten Thema: Beethoven und das Metronom; Federica Rovelli: Eine autographe Spur zu Beethovens 1. Symphonie op. 21; Rita Steblin: Franz Xaver Kleinheinz, "a very talented pianist who measures up to Beethoven". New Documents from the Brunsvik Family; Michael C. Tusa: On the chronology of the finale of Beethoven’s Second Piano Concerto, op. 19; Christine Siegert, Joachim Veit / Bernhard R. Appel, Friederike Grigat, Maria Rößner-Richarz, Michael Ladenburger: Mitteilungen aus dem Beethoven-Archiv und dem Beethoven-Haus Bonn. Wrappers. $48 [item no.6831]

Bonner Beethoven-Studien, Band 13. Herausgegeben von Joanna Cobb Biermann, Beate Angelika Kraus, Jürgen May und Christine Siegert. _☟

Veröffentlichungen des Beethoven-Hauses, V/13. Bonn, 2022. 8˚, 455 pp. Wrappers. $48 [item no.9711]

[Boorman, Patrick] Das Bonner Beethoven-Haus 1933–1945. Eine Kulturinstitution im “Dritten Reich”. _☟

Veröffentlichungen des Beethoven-Hauses, IV/27. Bonn, 2016. 8˚, 367 pp. Hardbound. $82 [item no.6804]

[Brenner, Daniel] Anton Schindler und sein Einfluss auf die Beethoven-Biographik. _☟

Veröffentlichungen des Beethoven-Hauses, IV/22. Bonn, 2013. 8˚, x, 580 pp. Hardbound. $89 [item no.6747]

[Correspondence, Conversation Books, complete ed.] Beethoven's Conversation Books. Edited and Translated by Theodore Albrecht. Volume 1, Nos. 1 to 8 (February 1818 to March 1820). _☟

Woodbridge, 2018. 15 x 24 cm, 424 pp. By 1818, Beethoven had begun carrying blank booklets with him, for his acquaintances to jot their sides of conversations, while he answered aloud. Often, he himself used the pocket-sized booklets to make shopping lists and other reminders, including occasional early sketches for his compositions. Today, 139 of these booklets survive, covering the years 1818 up to the composer's death in 1827 and including such topics as music, history, politics, art, literature, theater, religion, and education as perceived on a day-to-day basis in post-Napoleonic Europe. Hardbound. The first of a projected 12-volume set. $79 [item no.6822]

[Correspondence, Conversation Books, complete ed.] Beethoven's Conversation Books. Edited and Translated by Theodore Albrecht. Volume 2, Nos. 9 to 16 (March 1820 to September 1820). _☟

Woodbridge, 2019. 15 x 24 cm, 451 pp. By 1818, Beethoven had begun carrying blank booklets with him, for his acquaintances to jot their sides of conversations, while he answered aloud. Often, he himself used the pocket-sized booklets to make shopping lists and other reminders, including occasional early sketches for his compositions. Today, 139 of these booklets survive, covering the years 1818 up to the composer's death in 1827 and including such topics as music, history, politics, art, literature, theater, religion, and education as perceived on a day-to-day basis in post-Napoleonic Europe. Hardbound. The second of a projected 12-volume set. $79 [item no.6826]

[Correspondence, Conversation Books, complete ed.] Beethoven's Conversation Books. Edited and Translated by Theodore Albrecht. Volume 3, Nos. 17 to 31 (May 1822 to May 1823). _☟

Woodbridge, 2020. 15 x 24 cm, 459 pp. By 1818, Beethoven had begun carrying blank booklets with him, for his acquaintances to jot their sides of conversations, while he answered aloud. Often, he himself used the pocket-sized booklets to make shopping lists and other reminders, including occasional early sketches for his compositions. Today, 139 of these booklets survive, covering the years 1818 up to the composer's death in 1827 and including such topics as music, history, politics, art, literature, theater, religion, and education as perceived on a day-to-day basis in post-Napoleonic Europe. Hardbound. The third of a projected 12-volume set. $79 [item no.9642]

[Correspondence, Conversation Books, complete ed.] Beethoven's Conversation Books. Edited and Translated by Theodore Albrecht. Volume 4, Nos. 32 to 43 (May 1823 to September 1823). _☟

Woodbridge, 2022. 15 x 24 cm, 256 pp. By 1818, Beethoven had begun carrying blank booklets with him, for his acquaintances to jot their sides of conversations, while he answered aloud. Often, he himself used the pocket-sized booklets to make shopping lists and other reminders, including occasional early sketches for his compositions. Today, 139 of these booklets survive, covering the years 1818 up to the composer's death in 1827 and including such topics as music, history, politics, art, literature, theater, religion, and education as perceived on a day-to-day basis in post-Napoleonic Europe. Hardbound. The fourth of a projected 12-volume set. $79 [item no.9663]

Dorfmüller, Kurt, Norbert Gertsch, & Julia Ronge. Ludwig van Beethoven. Thematisch-Bibliographisches Werkverzeichnis. _☟

Munich, 2014. 8º, 2 vols, 1800 pp. New comprehensive thematic catalog with musical incipits, references to the complete works edition, and valuable information on origin, autographs, ms copies, first and early editions. Indices and bibliographies. Indispensable tool for source studies. Linen. [item no.9381]

[Langenbruch, Anna, Beate Angelika Kraus & Christine Siegert] Beethovens Vermächtnis: Mit Beethoven im Exil. Bericht über das internationale Symposium Bonn, 1. bis 3. März 2018 mit einer Edition der gleichnamigen Studie von Paul Bekker. Herausgegeben von Anna Langenbruch, Beate Angelika Kraus und Christine Siegert. _☟

Veröffentlichungen des Beethoven-Hauses, IV/32. Bonn, 2022. 8˚, 474 pp. Hardbound. $82 [item no.9703]

[Lodes, Birgit, Elisabeth Reisinger, & John D. Wilson] Musik am Bonner kurfürstlichen Hof, Band 2. Beethoven und andere Hofmusiker seiner Generation. Bericht über den internationalen musikwissenschaftlichen Kongress Bonn, 3. bis 6. Dezember 2015. Herausgegeben von Birgit Lodes, Elisabeth Reisinger und John D. Wilson. _☟

Veröffentlichungen des Beethoven-Hauses, IV/30. Bonn, 2018. 8˚, 169 pp. Hardbound. $82 [item no.6823]

[Lodes, Birgit, Elisabeth Reisinger, & John D. Wilson] Musik am Bonner kurfürstlichen Hof, Band 1. Beethoven und andere Hofmusiker seiner Generation. Bericht über den internationalen musikwissenschaftlichen Kongress Bonn, 3. bis 6. Dezember 2015. Herausgegeben von Birgit Lodes, Elisabeth Reisinger und John D. Wilson. _☟

Veröffentlichungen des Beethoven-Hauses, IV/29. Bonn, 2018. 8˚, 324 pp. Hardbound. $88 [item no.6820]

[Reisinger, Elizabeth] Musik machen—fördern—sammeln. Erzherzog Maximilian Franz im Wiener und Bonner Musikleben von Elisabeth Reisinger. _☟

Veröffentlichungen des Beethoven-Hauses, IV/31. Bonn, 2020. 8˚, 264 pp. Hardbound. $89 [item no.9654]

[Ronge, Julia] Beethovens Lehrzeit. Kompositionsstudien bei Joseph Haydn, Johann Georg Albrechtsberger und Antonio Salieri. _☟

Veröffentlichungen des Beethoven-Hauses, IV/20. Bonn, 2011. 8˚, 187 pp. Hardbound. $84 [item no.6929]

[Sichardt, Martina] Entwurf einer narratologischen Beethoven-Analytik. _☟

Veröffentlichungen des Beethoven-Hauses, IV/19. Bonn, 2013. 8˚, 300 pp. Hardbound. $84 [item no.6746]