m ^ ^ ■■ ■ s 'u 1 i \ ">- 1 * : , , .< „ r , . v - ■ ,. ■.'.-' ■■■■■ ,-.■..■ ;';.'■■■.; - ■■ ■ .. ■■ . J ! ' :."J CORNELL UNIVERSITY LIBRARY GIFT OF Vernon Wagner MUSIC Cornell University Library MT 40.B41 1853b Louis van Beethoven's Studies in thorou 3 1924 022 487 866 l/LSV Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022487866 LOUIS VAN BEETHOVEN'S STUDIES. V^k v^gssfm S»- '- aS-' >:.;, S-"-'-' -" *ir . HBP BBllllft bHb^ : p? ; PF ; P ; - ftcerfifiY^. LOUIS JAN BEETHOVE'NS STUDIES IN THOROUGH-BASS, COUNTERPOINT AND THE ~ ART OF SCIENTIFIC COMPOSITION, COLLECTED FROM THE AUTOGRAPH POSTHUMOUS MANUSCRIPTS OF THE GREAT COMPOSER, AND FIRST PUBLISHED, TOGETHER WITH BIOGRAPHICAL NOTICES, BY IGNATIUS VON SEYFRIED; TRANSLATED AND EDITED HENRY HUGH PIERSON. (EDGAR MANNSFELDT.) with beethoven's portrait, and other illustrative plates. SCHUBERTH AND COMP. LEIFSIG, HAMBURGH AND NEW-TORE. 1853. PREFACE. The first German edition of this work, published soon after Beethoven's death, contains the following introductory remarks by the Chevalier Ignatius von Seyfried, a friend of Beethoven , and himself a musician of some eminence *) : » These studies of the immortal Composer are a legacy of such high value to the world of Art, that no one would venture to take away from or add a line to it. I have therefore pre- served it, in its original form, with the utmost conscientious- ness — as it was found among his posthumous papers ; only here and there have I omitted some tautological examples of one and the same rule, which the zealous pupil had worked out for his own benefit ; the limits of the work did not allow of such prolixity; — but all B's marginal notes are retained. These studies are not to be regarded as a complete systematic book of instructions , but rather as possessing peculiar interest in their brevity and conciseness, and as being the aetual course of Thorough-Bass, Counterpoint etc. , which Beethoven went •through with Albrechtsberger , whose tuition he enjoyed for two years : — that he was no idle scholar will at once be per- ceived, and he thus laid the foundation of that solid science which characterized his future works. It may indeed be asserted that his theoretical acquirements were, notwithstanding his evident diligence, less remarkable than might have been ex- pected; but this ought rather to be attributed to the noble *) For a fair specimen of his compositions see the „Libera", p. 63. He died at Vienna, 1841. VI PREFACE. audacity of his genius , which prompted him to shake off the fetters of pedantry and old-fashioned prohibitions. His creative spirit carried him far beyond the prejudices of the Past, as it also enabled him to enlarge the boundaries of his art, and pla- ced him in advance of the age in which he lived. « — I have little to add to these remarks; — the genuine- ness of the Studies is unquestionable , and, apart from the collateral interest attached to them , they are of great intrinsic value to all young musicians who desire to get at the kernel without unnecessary difficulty in breaking the shell. Feeling that this work ought to be rendered accessible to English readers , I yielded to the solicitations of the Publishers, and undertook the task of translating and re-editing it; to the new German edition I have added some interesting and authen- ticated anecdotes of Beethoven, and to this volume I have further appended a few critical remarks upon his works, toge- ther with some notices respecting his private history which appeared to me desiderata, as filling up blanks in the un- satisfactory sketches of his life hitherto known to the public. Music is now so universally cultivated in England, and is making such rapid progress in America, that a work like this is sure of its public ; twenty-five years ago its circle of readers would have been confined to professional musicians and a few scattered dilettanti: » rari nantes in gurgite vasto « — it is a blessing for both these great nations that the barbarism which depreciated and all but ignored the claims of music, can no longer be made a ground of reproach to them : — may this book be honoured in promoting, however little, the interests of that divinest Art! Hamburgh, 1853. HENRY HUGH PIERSON. - CONTENTS OF THE FIRST PART. FIRST SECTION. SYSTEM OF THOROUGH-BASS. CHAPTER I. The signatures CHAPTER II. The treatment of discords . CHAPTER III. Harmony The organ-point Entire system of Chords CHAPTER TV. CHAPTER V. CHAPTER VI. Chords of suspension with one interval CHAPTER VII. The same with two intervals CHAPTER VIII. The same with three intervals Page 1 18 19 47 49 52 56 59 CHAPTER IX. Chords as derived from the change of bass . 61 CHAPTER X. Chords of the 9th, 11th, and 13th 63 VIII CONTENTS. SECOND SECTION. THEORY OF COMPOSITION. CHAPTER I. Page 67 The elements of Composition CHAPTER II. ' Definition of the word counterpoint • • • 70 CHAPTER III. The five species of simple counterpoint , — CHAPTER IV. Examples of the same , as written in two parts • 77 CHAPTER V. The first species of simple three-part counterpoint 89 *■■*■ , CHAPTER VI. Second species of the same 91 CHAPTER-VII. Third species of the same 95 CHAPTER VIII. Fourth species of the same . . . . . . 99 CHAPTER IX. Fifth species of the same . . . 103 CHAPTER X. First species of strict simple four-part counterpoint 107 CHAPTER XI. Second species of the same 110 CHAPTER XII. Third species of the.same . . . ... 1 1 3 CHAPTER XIII. Fourth species of the same 119 cha'pter XIV. Fifth species of the same . 124 CHAPTER XV. Examples of the free style of contrapuntal composition ..... .130 CONTENTS. IX THIRD SECTION. ESSAY ON THE FUGUE. Page CHAPTER I. Imitation 140 CHAPTER II. The two-part fugue 165 CHAPTER III. The three-part fugue 172 CHAPTER IV. The four-part fugue 185 CHAPTER V. The choral fugue 21 4 CHAPTER VI. Double counterpoint in the octave 827 CHAPTER VII. Double counterpoint in the tenth 237 CHAPTER VIII. jgvv Double counterpoint in the twelfth w ? : T . . . 247 CHAPTER IX- tg Examples of all three species of double counterpoint 254 CHAPTER X. Inversion 277 CHAPTER XI. The double fugue 285 CHAPTER XII. The canon 303 APPENDIX. Fragments. Hints for vocal composition 314 On the Recitative 315 Andante and Allegro for 2 violins and cello 325 CONTENTS OF THE SECOND PART. Biographical notices of Beethoven 3 Traits of character and anecdotes 10 His last will ' 23 Authenticated letters 25 Written dialogue ., 30 Inventory of his Drooertv in books , music, etc ■ . 32 XII CONTENTS. Page Settlement of pension .,• 36 Baptismal registry . . . . • 3S The funeral 39 Circular invitation to it 42 Autopsy • 43 Necrologue • 44 Elegiac.stanza by Grillparzer 45 Poems and epitaphs on Beethoven 46 Beethoven's monument at Bonn 48 Remarks upon his character and works 50 The commemoration-festival at Bonn 54 Hymns performed at the funeral 56 Choral melody 70 Explanation of the engravings 74 Catalogue of his works i 75 PLATES. / Facsimile of Beethoven's handwriting. The medals 'struck in honour of B. His monument in the cemetery at Wahring. Original sketch of the ,, Adelaide", facsimile. His monument at Bonn. View of the house in which he was born. View of the house in which he died. STUDIES IN THOROUGH-BASS, COUNTERPOINT, AND THE ART OF SCIENTIFIC COMPOSITION^ FIRST SECTION. SYSTEM OF THOROUGHBASS. r < FIRST CHAPTER. All the symbols which indicate the harmonic accompaniment are called signatures ; e. g. Unisons. • w , ~l b~r H,. tti3*-j. II Diminished. Pure. Augmented. b« I?' *f> rv /• -^ -a a> a* Seconds. 1 f V" H' 5 /I "«l Minor. b* Major. 2 Ex reme. or t rv )■ -^ /5 *»' rj Thirds. Diminished. bj P Minor. " b3 Efe Major. Fourths. Ikcilioven, Studies. b* Diminished. ^ Pure. rijac *E Augmented. FIRST SECTION. Fifths. 99- Diminished or imperfect. b» Pure. Z3T. ■9— Augmented. #s or * Sixths. *a= Diminished. b6 ^^ il&sc: iljac Minor. b' dlgE Major. zar E Extreme. #6 » r » Sevenths. Diminished. b» g^P= Minor. b? :J|ac Major. 32T Octaves, or Eighths. 5ac Gar Diminished. b 8 _ Ss *c I2C Pure. dq&z «E Augmented. #8 rsr Ninths. h- fer H IP tt3 l Minor. b<> rv Major. Extreme. #9 ■ ^1_ ,, v9 »' The Tenths, Elevenths and Thirteenths, are, as regards their position, nothing more than Octaves of the Third , Fourth and Sixth. They are repre- sented by the Figures iO, H, 13, in case of their following each other in succession; but with this exception are intimated by the figures 3, 4, 6, for the sake of brevity and simplification. * X b» 8 b 7 i 6 b r 8.9 SI '-• «= V g^3 bV SS 77 tj 7 b 3 *. b» m nSr, SYSTEM -OF THOROUGHBASS. When the signs of Transposition become necessary to the progression of intervals, which have not been presupposed by the original key, these signs must be written as in the following examples. The intervals which are included in the original key are called natural intervals, flat or sharp, majpr or minor; they are called accidental when signs of transposition are required to indicate them. A stroke through the figure, or a sharp jjt at the side of it, either on the right or the left, raises the interval half a tone higher; e. g. -f — y- . -t * m jy. ~&~ #» 5# 8 if 8 3C A flat (; placed either before or behind the figure lowers the interval , in similar proportion , half a tone ; e. g. 2 fcs n 1*S>- rr *r— k £e^ T^=f^ -tg * 7 [?7 S |y S *J> 5. 3 \t- M=l — _ -«-=-- The sign of Resolution h (or natural) reinstates the interval in its former position; e. g. . fea — lis _ _ ^ ■» P=^4^= fc* -k» ty* ' 1 — ^® r JJ-3 — — P=^ 1 8 — 1 ~^ a — 1 8 — i 1— - y-9G> 1 8 Two strokes through the figure, or two sharps jjjjj, or a double sharp X, or a stroke through the figure together with a simple sharp annexed, raise the interval a whole tone higher ; e. g. | 53S> 1 X>9 .■ X^» J *H- X3 #J ##6 iV * !• V FIRST SECTION. In order to lower an interval by a whole tone (in the flat-keys or scales) a large p or two small \fy must be placed before it ; e. g. fca. — bfea- n ^ t^ L-l' .. T- — k 2 &?- =t -^g- >&- X ■x- b = b' \r \f \r\>7 The sign of restoration to the statu quo , after this kind of transposition, is t$, ty e. g. fej^^^^^^^^ m#« a- S k* i bb 6 libs b' s .* In some of the works of the old Composers, and occasionally in more modern ones, we find flats prefixed to the piece, and afterwards resolved (annulled) either by a sharp or natural, or by a stroke through the figure; and a similar* custom in sharp-keys , e. g. i t dfe_ & --J)a=3E| 31 ^ * S #5 instead of BE I s . g« S' in r-J *5 m \>' be bs PP -«- 7g- instead of S» H« 32a= tj* The imperfect Fifth, as also the minor and diminished Seventh, is com- monly indicated by a \r. This sign is usually placed, by more modern Composers, after the figure, e. g. 2(7, ty, 6^; an d in like manner the resolution of the same; e. g. a!}, 4l|, 5t[, 6j|, but a stroke may also be drawn through the figure, to produce the same effect; e. g. 4, s, «, a. The Third may be indicated by a simple flat, sharp, or natural placed over the note. *E it * Fjr* 5 ^ ?^Sm p^ *=t ss=^ SYSTEM OF THOROUGHBASS. . 5 Another received method of indicating transposition (and one which renders it easier to distinguish at a glance) is to place the sign, |? or j}, im- mediately before the figure; e. g. |?2, K |?5 ; lj2, i}4, t)5, t}6, i}7 ; #4 , |f2 , jf5, #6,^7. But it is better, for the sake of avoiding the chance of mistakes, to draw a line through the figure; e. g. ty , ft, & , 6& ; %\, k\, stf; '* , 4, 8, «, 7. This kind of stroke occurs but seldom in cases of the Octave "or the Ninth, it being then customary to prefix the $ or (7 in natura, or after the note; e. g. #8, #9, t}8, t)9 ; |?8, >9 ; or 8#, 9#; 8lj", 9ij: 8>, 9|?. — And similarly in cases of the Unison; e. g. ffl, JH, |H , or ijf, llj, 1)?. Double sharps, flats or naturals (resolutions of transposition) are only to be found thus indicated : 4h-, or, X2 , 6X; 8{^, or X>5, 7^; ^6; 5l$; t#3; 8lft>; etc. Where the sign of transposition stands alone , over the fundamental note, -ft -refers , as aforesaid, .always to the Third. — The figures are always to be placed over the Bass-part , because nearer to them or underneath them it is customary to write forte & piano, mf., rfz., pp., dolce etc. But sometimes, when, for example, one part is, written over another , one for the Violoncello , the other for the Contrabasso or Organ, — or in Fugues, where the entrance of the subject is indicated in the Bass- part; the simple notes must be played, and no chords struck before the figures occur. When the right hand has an obligato passage to execute, it is expressed in small notes, e. g. J4 ^ r These' chords or single intervals , the figured harmony to which does not stand .'directly over the note, but a little on one side of it, are not to be struck at the same 'moment as the bass note, but after it, in proportion to half or one third of the value of that note ; e. g. s 3=i or still better I id est : still better id est: i FIRST SECTION. Every indicated harmony is to be retained as long as the bass -note stands unchanged ; for instance, the common chord is here to be retained to the middle of the next bar, until a new figure appears ; see the example : The same rule holds good where the bass notes are raised or lowered by an octave , 'or where passing notes , belonging to or agreeing with the harmony, occur in the bass-part; e. g -W- 5f3£ -4 ,J „ J J ^ Sr- Gkr-& ( =fc m F 1 I TT °sb f^fe^p feE *t=3 3=. m^ i l a ■•"•"#-•■ When two figures, adjacent , are placed over a note which can be divi- ded into two equal parts , each of the harmonies thus indicated is to be re- tained for half the duration of that note or interval ; e. g. J= fl =J=J=q F =fcd=J ^SEEf^E ^o- jz?: *b 7b H % Where three figures, adjacent, are placed over a note, the first of the harmonies thus indicated is of half the duration of that note ; the other two chords make up , together , the value of the remaining half of that note's duration. £ri=3F=te±=± iil^ m r^SE^ ■&-- Eg 1 ' I 6 b 7 b? Sb Efe Four figures, adjacent, indicate that each of the required harmonies are to have one fourth of the value (in duration) of the fundamental note; e. g. SYSTEM OF THOROUGHBASS. Five figures are to be interpreted thus : =s ^^p^^ppi =^: * m Wlien two figures , adjacent , are placed over a bass note divisible into 3 parts (a minim with a dot) the harmony which stands first indicated is to have two thirds of the value of that note (one minim) the other harmony having but one third of the same. \ *.b i=£ *S 3 When the piece of music is in triple time, |, | , each figured harmony has half the value of the bass-note. fe=6 iEEk I X i #' £ It dr -s»j- When three figures stand Over a note in triple time , each of the har- monies has a third of the value of that note. 1 mm & ^ 35 S=? -*— * t 7]) HI 3^2 8 FIRST SECTION. When there are four figures , the two first harmonies have severally the value of one entire third of the value of the bass note, thus leaving but one third to the other two figures ; e. g. JPP 1 ' fe£# ±. £3^9 g9 »p^B 6 J 4 S" Five figures are to be subdivided as follows ; J- ^^& tt¥pm -&—?- ^s 4 5 4 2 h J.f U 3 p 7 6 5 3 Dots placed after the -figures may be used ; in this way : Q"^^ 6. P7 • 5 4p "s* 3 *b H: £=£ 3 4j> b? 7 S 3 ^ fe £ But a horizontal stroke serves the same purpose ; e. g. =E P^ ZeSZ When figures are placed over a dot, the harmony thus indicated is lo be placed before the note which follows after the dot, and the duration of the intervals is to be reckoned by the note preceding it. k a^Jjgfe^Ha m m \>7 ^ SYSTEM OF THOROUGHBASS. 9 The same rule is to be observed" in case of rests , i. e. should they be longer- than quaver rests ; e. g. -IJ E^ ^ ; =5 S^: All figured harmonies, on the other hand, which are placed over a short (quaver or semiquaver) rest, are to be played as they stand, i. e. over the rest, and the note immediately following' determines the. origin of the chord ; e. g. S 3P£g m Those harmonies , however, which are written over a long rest, are indeed to be played over that 'rest , but they are formed with reference to the preceding note; e. g. U^LMjJ SP¥-¥ 3 \>i w^?=^ £=rE£EfefeE3E?E X A horizontal stroke intimates that, the accompaniment, as consisting of the preceding harmony or single interval, is to remain as it was. za^ £| t^=t zkEtk fe »F 3t ^ =f^' 7\> 1==T4= i=t= =^ e^eS Nevertheless, the chord or interval may now and then, especially where the movement is slow, be struck again. — Over all passing notes in the bass (denominated irregular melodic sequences) which, although occurring in the accentuated or rhythmical parts of a bar, do not harmonize with the chord ; is placed a stroke thus /; over such passing notes as agree with those for- 10 FIRST SECTION. ming the chord (and which are called regular sequences) is sometimes drawn a horizontal line , but not always ; e. g. =d r d i i fe ra m Passing notes. " • " « " k ' h Regular sequences. After two , three , or four figures placed over each other we generally meet with as many horizontal strokes ; that is , in cases where it is not ne- cessary to change the chord ; e. g. M-g-hg =t=t :£ ^ «fc * 3= ^ Where the rules for the distribution of the figures are to be infringed, and the duration of the notes in the accompaniment is to be varied , the composer is to insert a horizontal stroke between tvfro figures, as a guide to his intentions. h=A * e instead of: zzzz The oblique stroke / placed over a passing note intimates that the next figured harmony is to be played at the same moment as the interval over which that stroke is drawn ; e. g. M S A half-circle ^ drawn over a figure (this sign is called, after its inven- tor , Telemahn's arch) is used by many Composers to indicate : SYSTEM OF THOROUGHBASS. 11 First, the common harmonic triad with the lesser Third and the dimi- nished Fifth ; e. g. g 1 1 F Tl » ■ T , '...-1 tl . - r\* J- /B -' /-i ... ,5, Secondly, certain imperfect chords, in which any one interval is wanting; e. g. % !*= instead of: instead of: jj =3* *= Thirdly, different kinds of Suspensions ; e.g. &-*—*, — m Fourthly, harmonic sequences, upon a ground-bass P=f=F H=^ Fifthly, passages that are to be accompanied by two-part harmony, as for instance ; I ± s=s -tr n ^=y=p^ in which case , if the Composer does not desire the full chords , it would be advisable to write a due over the figures , to avoid mistakes. 12 FIRST SECTION. 5 ^^ m a due. »- 4Jj-f -ff£ *«* mzm&m Where the words unisono, mis., all' unisono, all' ottava are written, the passage in the bass -part is to be repeated in the octave immediately above , by the player's right hand ; when the accompaniment is again to be enriched by chords they must be indicated by the proper figures ; e. g. Tasto solo, or the abbreviation T. S. means that the bass note is to be sustained without the addition of harmony until the reappearance of figu- res ; e. g. 3E T. S. m =?c x 3C It would be advantageous to adopt the sign to indicate a pause in jthe accompaniment, this being more appropriate than T< S. and more quickly written; e. g. ! f =^fn4a^ m tfz m 3i J . :• "CS I — — ^P^ &$ $m m SYSTEM OF THOROUGHBASS. 15 SECOND CHAPTER. All Discords must be- legitimately prepared and resolved; i. e. they must- previously have been Concords, and be capable of becoming so again; they may be resolved either from above or below ; e. g. E&fe i^ *b i- R -M T=? ■±L. S m ^ ESI x Discords of every kind may be.- played freely and without preparation over permanent (sustained) basses; inasmuch as they cannot be prepared on account of there being no change of bass, which very circumstance ren- ders their preparation unnecessary ; e. g. 5 b6 3 v i H b? ">= J CV )• a> ' -^ L J ' or ' ' The insertion of 'a sign of transposition , which lowers a prepared Dis- cord by a tone or semitone , does not invalidate its preparation ; e. g. H&. b* n- \>h - if* -■«■ s i j^ &*$ n S5 '* ■ ra *i *s i \\ | ' 'el it «' 1\> 6 S « b-» rv /r> f5 n— yi— ^ ■ F — 1=- up — ' h— In like manner we often find -one Discord resolved into another; e. g. ^=^^=feJ: ^ ^ * ■ SeS^£^Se£ * 3=^ Sometimes it is not resolved ; the progression of the fundamental Jsass supplying the place of its resolution ; e. g. 14 FIRST SECTION. =fej jj-j II £& J^ J-J- - & g > fc 1^ m^ i_i_ ^ P *fc ^ i -»■* — ^ *sfe 'g J s >- m ± m h 1 But even where the resolution of a Discord is delayed for some time hy the introduction of other Discords, it te still indispensable to resolve it, sooner or later, into a Concord. This kind of writing is called a retarded resolution. Occasionally the right hand does not await the ^entrance of the bass- note over which a Discord is to be resolved, but anticipates it; for in- stance : ^ ^ £ And sometimes this is done by the left hand ; e. g. T T ^m ± Both cases are termed Anticipatio , or a forestalling of the resolution. A. Anticipation in the treble-part, when the oblique stroke / is to be used , as in the case of the passing notes before mentioned. IN SYSTEM OF THOROUGHBASS. 15 B. Anticipation in the bass -part, to indicate which the horizontal stroke — may be used, as in case of the regular sequences. g * *=«P ^ 532 m g=^^E^ £ ^E When the bass-note is repeated by the next chord in the treble-part, before the Discord is actually resolyed, it is to be viewed only as a change in the harmonic position; e. g. '" T=T ^ Eg When the note by means of which a Discord is to be resolved (by the right hand) is taken up by the Bass , we are to regard it as another form of resolution ; the Discord is then in fact resolved by the Bass ; e. g. =5=F P^Fi £ #» ^ #=^t #E 7 6 ti » 3 " l S|7 ^ Short notes (as quavers) seldom have an individual accompaniment. When they are struck without accompanying intervals they are called pas- sing notes. Single notes of this kind are not figured ; where there is a group of them a horizontal stroke is drawn over them , extending as far as the right hand is required to pause. This occurs in all sorts of measures and tempi , and in very varied shapes. Sometimes half the number of no- tes consists of passing notes ; e. g. ^ 6 # 6 16 FIRST SECTION. Sometimes less than the half, and this is more common; e. g. P^ ?fc b * [N^seH^ rt If the piece of music be in quick time, and the notes are short, we often find the greater part of them passing notes ; e. g. On certain occasions, which will be recurred to in the following pages, we meet with what are called passing intervals. These are of three descrip- tions : First , when the bass-note is permanent ; e. g. -A^Lr±^ ^T 8 \/7 ZSO ISC ZSZE Secondly. When the intervals forming the accompaniment remain un- changed, while the Bass moves on; e. g. zze: -S d= E2ZE fS=r: m ee3e£ -& — - or: I =3b i "S zfe f* =£ ^ ^^^^PpS^P^^ SYSTEM OF THOROUGHBASS. Thirdly , when the movement is extended to both parts ; e. g\ 17 w= mjvt^ f^ E ^^ E ^ -&-^-T ^m 6. S, — , 6—6 9 7 5^ *b 3 [»7 4 — 4 it =?s i j.Ijt -J4 J -^ * * When the accompaniment falls only upon those notes which, in re- spect of their rhythmical value, are the longest, the passage is called, regu- lar (tir.ansilus regularis) ; when the passing notes are of equal value, the first, third, fifth and seventh are .the longest (on account of the accent); the fourth, fifth, sixth and eighth are- shorter : e. g. 1. s. 1. s. 1. s. 1. s. 1. s. 1. s. 1. fefeg=£ £ In case of the accompaniment, which properly belongs to the shorter, bass-note, being; anticipated , and thus falling upon the longer note, the passage is -termed irregular (transitus irregularis), and- is said to contain pas- sing notes of permutation : e". g. * • ">' 1= £ & i ° i 3 tL * =t=f S=fe Besides the usual and far preferable mode of distinguishing. this sort of notes, viz;. an oblique stroke /, we. find them often indicated by a circle or half circle, 0> ^/> ^^ sometimes by the sign ♦♦*>; e. g. -J— Eli W=& 4- W^ s S o °b o b? w> f^f=T «* V ^m$^ This irregular transit consists in fact of those anticipations of Resolution which have been already mentioned. Beethoven, Studies. 2 18 FIRST SECTION. The Discords which arise from the transit in both parts, above and below, cannot always be resolved at once, even though they may have been legitimately prepared ; e. g. *■ ^^6 S=^ . this is also the case with those"~clrtg , ds which by means of an enhar- monic change in the modulation appear as real Concords: e. g. £ jj^E^g b 7 b 6 ^^ The accompaniment is called united, when all the intervals belonging to the single bass-notes are played by the right hand; e. g. £eM 3=t :«= If, however., two or.more notes are played by the left hand also, the accompaniment is called divided; e. g. 6 A & b* zsc m SYSTEM OF THOROUGHBASS. 19 THIRD CHAPTER. Fundamental chords are those which give origin to others , and are of two kinds only; the perfect or pure triad I , and the chord of the Seventh I ; all others , which are derived from these , are called chords of transpo- sition or secondary chords,. : If we write a Bass which involves, nothing- but triads and chords of the Seventh , that bass is in fact the real fundamental or ground-bass. Thorough-bass, j ^i Ground-bass. i ^^5 £ 9± — ^ *3E £ A Discord *) is usually resolved by a diatonic interval downwards ; but there are some discordant intervals , especially those termed extreme, which are resolved by a similar interval upwards, viz: by ascending ; e. g. *3= jW ff =S=i qq= » £ EB ^F =t= * ^ n» * £ &3C =t * £ * If the Resolution, which ought properly to be made, in the upper part,, be carried over to the bass or • to another part , it is called a permutation of Resolution: e. g. -#- -at X 4 -W- P^ feg 4=* "2fct^ instead of: 3e5 3 instead ' 3S g^Ep -® : - that is, when the Bass takes up one of the intervals belonging to the har- mony, before the Resolution occurs; in consequence of which both chords are based upon -one and the. same fundamental chord; e. g. -I **., ' • '■■ L f 1* f? " k-j A /5 V9. r!i -& 1 rS. 5§ ..JA. &. ^,- - rj v !W? H+3" 1 c b* *■ rv ■ }• "i «? ^r ej • r 1 ! 1 *) This sffrt of Piscprd is eommonly termed Suspension : our english musical phraseology does not , hitherto, admit of" very nice distinctions; spero nreiiora ! P. 20 FIRST SECTION'. If, on the contrary, a whole chord, or only a single interval, be struck in the accompaniment before the bass-note changes , it is called an anticipated Resolution; e. g. & -&- m 3 5 ^ not Antici-' pated. fEE ^nrnm This proceeding can only then properly be termed an Anticipation when it occurs after a Discord ; for the second Example shews that the false (or diminished) Fifth, which forms the preceding Discord , is in reality resol- ved beforehand ; but this is not always the case ; e. g. < -fUU w z ?ee£ without Anticipation. ^ 1= ±±4 £ The following Example shews that precisely similar Anticipations may be made in the bass. ^ m$ without Anticipation. — ® 1 • A 1 P !? I 1 \ 1 /■B' ^ Where we have passing motes, those which are ingredients of the chord are to be observed ; these are called harmonic secondary-notes : e. . g. ifi^ mmmmm m p ^M In a similar manner the strict Resolution may be avoided ; e. g. s=s 9 7 «h instead of : i m ^^i SYSTEM OF THOROUGHBASS. And likewise over a sustained bass ; e. g. *-%— fe- at flfcj7 8-7(7 7; (7 5 *% ^ 4t*= " 2 Illli in this instance omitting a chord ; e. g. 15 J* % ± ?b *B instead of : f=F b« ^g "J23= it also by changing the Discord into a Concord , and vice versa ; e. g. ^ &2 3^ em b« $t=$£=kj£ ■$&■_ -& — -g. 7 b 4 ES. : BS- * b = The pure triad is a chord which may be played without the guidance of figures , but if figures corresponding to its intervals are' placed , singly or together, above or below the bass-note, they have a particular meaning. Sometimes they indicate Discords which are to be resolved into other, harmo*- nies without change of bass; e." g.' II — I ► ■•■■": I =§= ^=± csz ±-&z 3= ^s- T<&- is=i isc sometimes, when Discords follow, the triad is symbolized beforehand, for the sake of perspicuity ; e. g. EgEfe -A n EE i g .- 5^ 8 |?7 1,3 H 22 FIRST SECTION. sometimes it is well to distinguish one note of the accompaniment which ap- pears to be a passing note ; e. g. ■0-fi- -rill- £ Accidental major Thirds are generally to be found moving upwards ; in four-part harmony, they may, however, descend; e. g. Li w^m, -zzz ?&- I ^ iir. $&• — §3- 3= wf^m s ^&—G>- * -^ The common signature- for the chord of the Sixth.is simply the figure 6 ; occasionally, we meet with .symbols for the other integral parts of it; there are various reasons for this. All unmelodic sequence's may be avoided by doubling single intervals. M if J: * S £ -t 4=P _|2- £ -f=2 «- * -£2- 4=fi 4b *' This artifice becomes particularly necessary when a Fifth follows di~ rectly after a Sixth,; the Example shews, what intervals -may be doubledj in this way, and some varieties in the position of the 5th and 6th;. XJ^J^ ■ki, •» ^m ^ 3b &- ?=*=*? 22= f= 5 6 5 G 5 6 5 6. S 6 5 PS - 4 =a: ^= In the free (or florid) style the Sixth is frequently used in conjunction with the Octave : e. g. si^g jppggi J 6 ^5 ^g ^ SYSTEM OF THOROUGHBASS. 23 When the Sixth is played together with the diminished Octave , no other interval is admitted into the chord : e. g. , t^^^^^^m^^^^ M ft! I « # 9 tS B 7 ■ ,, K8 7 The augmented Sixth is a Discord which may be used without prepa- ration , but must always be resolved upwards : e. g. f ^f^f^f^pi A # •« m& i=±=t -m- =3 '^ff feS 4r The- piscord formed by the diminished Sixth is of rare occurrence ; . e. =t El g=l=p^ ? >i F Pe When- in the accompaniment (written over a figured bass ) the position of the'Third or Sixth is altered by means of a.short note, the foregoing har- mony is to remain as it was, whether the time of the movement be .slow or quick. -*- . Now and then a sequence occurs, in connection with a chord of the Sixth, when it becomes necessary to adopt five-part harmony; e. g. feteferfe^ ^mm f-< & i K. m t-- £ -M- The supposititious, diminished harmomo triad is usually either not symbo- lized at all, or only by the sign of the false Fifth (B(?). In the sharp keys 24 FIRST SECTION. a Natural" (l() is used to mdioate the false or minor Fifth. Occasionally we find the other figures indicating this triad placed over the fundataental note ; but inasmuch as the chord of the Six-five ( £ ) with the false Fifth is often symbolized by the figure 5|? or si), it- is advisable to draw an arch over the ^ ( 5b or 5^) where. we intend the diminished triad to be used. The supposititious, augmented harmonic triad consists, in addition to the extreme Fifth, of .the greater Third and the pure Octave. This" chord is in- dicated by the symbol of the extreme Fifth, viz: 8, sJ}, or, if it be prefer- red , by the ather figures corresponding to it. This form of the Fifth is a Discord which may not legitimately be used without preparation , and must always ascend: e. g. *J= ^ ~ ^?- ma ■gi— - fetesM: -«F^ E fe =fc The same interval, metamorphosed by a change .of bass into an extreme Third , is commonly used as' a grace in a piece of vocal music in slow time, and as a gentle transition to a new modulation ; e. g. »P^ Jd= ^&= ^ -p ^t ^&^f= 5EEB &~ *E t ■(2 4= The chord of the Six-four is indicated thus, J. The diminished Fifth must be prepared ; the perfect Fifth may sometimes be used unprepared ; e. g. • J^Ut i=F3 £ !g= ? a* r^> -(=*- #e «b ^ ib^E «[> 3 Here the perfect Fourth is in fact not very dissonant, but this does not remove the necessity for its resolution, except where it Occurs »in a'trarisi- •tus.. (sequence. of passing notes) e, g. SYSTEM OF THOROUGHBASS. as i i =?=*=& gi ^ ggsi=E -t— t- * The pure Fourth may stand in conjunction with the greater or lesser Sixth , and be resolved into the perfect triad ;. e. g. Jz T -fe H ^ m 3= But this is not always necessary, whether the Bass move on or be sta- tionary, because other harmonies are often indicated by a set of figures, which harmonies- may indeed postpone the resolution of the Fourth, but do not annul it ; e. g. ,i . 5 gH^^a Be m w- ry \>* ! #1 ' i m ^a= PP -r~ When, in a chord of the Sixth, the Third is delayed by the presence of the Fourth , the combination is a very delicate one and is best treated in three-part harmony ; if a fourth part be required , it is better to double the Sixth than the Ocjave. In a passage of this sort all. the three Fourths and both the consonant Sixths may be -used; but the Fourths must be prepared and must also descend. It is therefore necessary to indicate them by a par- ticular sign-, for the convenience of less practised players. Where the di- minished Fourth'appears, it is in connection with the diminished Sixth; e.g. 4- rT*—*- 1- F M p 9£ £ mmmm^mm 26 FIRST SECTION. The augmentgd Eourth is conjoined with the greater Sixth ; e. g. rfr?^ Se= H The pure fourth is conjoined with either the greater or lesser Sixth ; e. g; ^ pr ^r — r £= Si When the chord of the Six -four, constructed over a stationary bass, follows or precedes a ehord including the false Fifth, three-part harmony must be retained: e.g. Is E^ 4£ 4e b? ^P ,7 « . sk ■>» - »- - •■& ^1 If, however, a fourth part is to be admitted, the Sixth must be dour bled (as in the former case) and the Octave dmitted; e. g. &r ^ s =£ b« The chord of J is here, shewn as a transitory chord, the passage is groperly written, thus : n- ■ b B 6 )jr& l^g m Where the extreme (augmented) Fourth occurs,, as transitory, the bass is not always allowed to descend; it may also remain stationary; e. g. SYSTEM OF THOROUGHBASS. 27 »F ^t- £ P ^S-*^ 3=* ^ rs= ^^ In the following Example we find the extreme Fourth occurring prema- turely , by means of Anticipation , instead of being carried over , somewhat ■later, to the Sixth, by the. medium of a passing note: e. ,g.> IS £ 3± -(■ — »- *±: §i=§^ It is well to make a change of bass effect tne resolution of the false Fifth, aad also to arrange the figures as if the second note were to make it pass into fhe Octave ; e. g. £ 3C S 5t gj--sJ- ^ fe ?*=:=(= f^p=p TT p^F? P =P W p=a~ We. sometimes meet with the pure Fourth and the Sixth '(J) immediately • preceding the chord of Seven-five (I) , in which case three-part harmony is to be used. -:*P=$T# m &= 4 * £ £ * P^ fe l i 6 b 7 b b* « -M- £ ii ' When the bass ascends, the chords of '* and *, in succession, are also to be treated as three^part harmony ; e. g. — 8r m 28 FIRST SECTION. It would be incorrect to write the chord of Six-four for the sake of a passing Fourth: j^JJicJfc <52_ because this is only suited to vocal music, and in the, strjct style ought to be written thus : ^- i. £ The chord Of Six-four-three is indicated by the Signature J , and the figure 6 is only added ^*) where a sign of transposition, $6 or «, f»6, q6, is required; or when that chord effects the resolution of the Discord; e. g. ~* < B — ' d^ ^ = fa| : b«. *S w : -F = -—<3- ^ £ b* m or when that chord passes on, by a transitus regularis, to another interval, the bass-note remaining stationary;, e. g. & i tsSz »! i w=% E * The lesser , greater and extreme Sixth , the pure and augmented Fourth, the lesser and greater Third , are the intervals, which occur in this chord; e. g. ^ niN'i n ii j^W J ?b sg .98 - b 3 s z a ^ ^ SYSTEM OF THOROUGHBASS. 29 Instances of the major Sixth connected with the extreme Fourth and greater Third; % z=fcpa«; Hi * # 1= a: Instances of the minor Sixth connected with the pure Fourth and the lesser Third : ES±^i ife^pfe P^ m ^ =F= ^^^ b'i 3 ^B s be 1 " a. b« ^fe£sfe m b» .3 tjS 3 mm *dteh£t=dA ^ m 4±*JMH P bj • fegBE -#-#-' £ £ ^3 Instances of the the lesser Third ; -A t« i_i ' hkk*JaU a P*H I ^ £ 8 "i" ! ^ p. 7 6. |S 4 i'k 6 « n ■> ft " s * •• tv, « ^ « is 1 & s T» 3 .t=t=^ J J J, , J ij JU J. i kLj J, J =& SEf £EiE3E b ■ «£ s 7 tie tie 8^7-6 4 PHT fE f ff* it -s^ * ^^ In this chord the extreme Sixth is always united with the pure Fifth and the greater Third ; e. g. ml ^^& ^^ &. Mk iksi feat =d= F^a^ >'-u^ i^± T«- ->d- SYSTEM OF THOROUGHBASS. 55 The following examples shew that the Sixth with the false Fifth may be struck together without preparation , and this even in the strict style of composition : m m^m PP t9=F S ^FrFr^rrirTt^ $ S=3» k^ ALAU d- U^M m &$ 3m s m P=t 4: This unprepared pure Fifth and resolution of a Discord is explained thus : U^M^^i k^k^k. F-. 5.8 ,6 — ^ -— — ^ 5 4 \?S |j5 5 S 5 4=? i^aig^^j * p=3 *=* The retention of a convenient position of the parts , and of the flow of melody, as also the observance of pure progression in the bass and treble, are justifiable reasons for using the false Fifth without preparation, which is by no means indispensable. — The false Fifth is sometimes played together with a duplication of the Third instead of the Sixth, although the Sixth would not have interfered with the modulation; this is done in order not to offend the ear by a repe- tition of the Sixth when the foregoing Discord is resolved. The Third is often doubled for the sake of keeping the melody uninjured , and also to avoid bad partwriting; e. g. ±U±l*7Ui Beethoven, Studies. 54 FIRST SECTION. % u mk -h<2r ftEfpE^E ^zr S =22T =r # I «« « 11 * s r^# He fe^^ ^J^ i^ i^ ^M JpP^l £ gspsgf h * -£.• i * "#* ^ * The CAord of the Second consists of the Second, Fourth, and Sixth- The signatures for it are 2, or k\, i, §4, (by which the 4th is raised) or +, oder: I. The Sixth may be major or minor, the Fourth extreme or pure, the Second perfect, diminished, or augmented. The dissonant interval always occurs in the Bass, either as a bind (suspension) or as a passing note , and is always to be resolved downwards ; e. g. IP* zsJEz *: PPPE^ Pi 3^m I £ :t==t * I25t When the perfect or major Second is conjoined with the pure Fourth and major Sixth , the Fourth may ascend or descend , it may also remain stationary: e. g. UiJJ i ffiF^ J J m Sfe£ s=t= *=£ =tzt-z 4^ 4 gfe J§L JJ, J-U j. ,.i .. pas? mm w * b— « ^fr^frTlT^^^ ^ n^^Il g i^Ud m SYSTEM OF THOROUGHBASS. J J J---J ss 1 « . — . 1 . Pi p tog^M -<2- The same liberties may be taken with the treatment of this interval (the 4th) where it is connected with the perfect and the diminished Second and with the minor Sixth ; e. g. iasL—J- IflLs -J- U- 16 5 i> S=E \3 ^t ^m^^^m 1§S i^LtijJ M- -*U f^fm^TEp jplg ^UHd^ b« b 6 b^ . ' t l! ^ * t(-5 b» % ^^^g EB=t i j^y ^t- ■j I u « m 3=f^ m ?~ r* a ^F^p^Epg b6 b 6 ■ — 1£ b_ £: S= When the augmented Fourth appears in conjunction with the perfect Sixth, it may subsequently remain stationary or ascend; and similarly when it is connected with the augmented Second and major Sixth ; but in the latter case the extreme 4 th may descend in a transitus, provided that it be carried up immediately afterwards ; e. g. = feUj iplpp J-rJ i.i.H m spes W* ^^ Tr f T fa £^ ^pf^^^ 56 FIRST SECTION. 1 g^Hf iJXtU^ f*=f I pSp? ^F^ rt » [js j>7 cz=acf-| i f i r -^ $£§ U=x=±AAJ: 6EfEEfef i * E^ s Sometimes the extreme Fourth may descend by the extent of more than one interval ; e. g. ' . '.'*•> •• .f"_|- ^^ 5= i ^^^g^fefe rrf^ft The Second is doubled in order to cover the bad progression caused by this descent ; e. g. w kk kd. r=r=F f=fe=^=F= ■$. No figures are necessary to indicate the conjunction of the major Sixth with the extreme Fourth , and of the minor Second with the minor Third. The extreme Fourth is taken together with the extreme Second , and with the former may be taken the perfect ( or pure ) Second together with the major Sixth, in which case the double-sharp signature (4n , or x -4) is to be used : e. g. Jfe mus Ete m znssz *2t =f w » m * b* £ S 3C SYSTEM OF THOROUGHBASS. 57 *8 mm H m » 3E In a case like the following the Sixth must be written with the sign of transposition, viz: ^M j j mmm * * *. 6 7 % 3 »H 5 §h £ §i The chord of Five-two ( | ) contains in fact only the Fifth and Second, but appears sometimes as a four-part harmony by the duplication of one or other of its essential intervals. Its signature is *. — Both the Fifth and Second are pure , and the Discord- is formed , as in all suspensions where a chord of the Second is concerned, by the bass; e. g. ^ ist i -J31 r ISIS * £ f=H •» =t=5t When there is an irregular transit, or passing notes of permutation occur , the augmented Fifth is sometimes to be met with; e. g. ^SE£ -s The chord of Five-four-two consists, of the intervals impjied , the 5th being major, the 4th and 2d pure. Its signature is I , e. g. Jz :tzz€z A Z&2Z --&- -fefe^ m =& s i §» 38 FIRST SECTION. The chord of Five-three-two consists of the minor Second , the major Third, and the pure Fifth. Its signature is the figure 2 with a Natural, and the symbol of the major Third, viz. a sharp placed above the 2'; e. g. sSe A. a ^m i£ m ^=- — s>- zdrjg= ~73 'g — «■ g^ f 5678767671? 7 6 7 6 g^ EEiEES £2*ULj== 3=f 6 7 7 7 7 I \ B^ E^ None of the passing notes which occur in these harmonic combinations are to be figured : 40 FIRST SECTION. i=**l*=t =£: S n pEg i^=r t -rrt^ Good progressions of the Seventh : 3k J-rJ J ,,- jq^ J—i Ji-«l |f##H ^^pig^S^ g 5 6 US* « #5 6 5b & gfeE^^^gEg j y=tad=fe ^^ ^ ^ it The chord of the Seventh is twofold ; it consists either of the Seventh, Sixth, and Third , or of the Seventh , Sixth, and Fourth. In the former case its signature is I ~, in the latter case the Fourth must also be indicated over the bass^note, and to the chord of resolution is generally annexed the symbol of the Third > as well as that of the Fifth, viz; I \ ; J S i^U zsz irl j-rj T 7 C 6 3 "nt , i tx fa F3= 3fe ^lgi fe :s^ SYSTEM OF THOROUGHBASS. 41 In the transit- we sometimes meet with the Second /instead of the Fourth ; e. g. S=? ■A £ 7 #' . u' • *» g^ rsc. The chord of Seven-four is symbolized by J; it contains, when complete, also the Fifth or the Octave. Its ingredients may be the major, minor, and diminished Seventh; the pure Octave, the extremg-, pure, and false Fifth; the diminished , pure, and extreme Fourth , which last may be resolved at the same time as the Seventh; e. g. I l l I i I , II ju fe j J II J~N .MtJ I I - 1 I J J l i. mt ^ ^pp « 7 5 6 6 4-3 B=t 3 In like manner the Fourth may be resolved before the Seventh, and the Seventh before the Fourth ; e. g. feJ^EiE^B Mum=i *s S^gsil ^-w-f—r-rsrr •—& 6 7 — 6 7 — I — 4 3 — 4 3 - 7 d — : — ,76 — 6 4 — 3 [;3 |;4 — 3 P^m mm j|«=i|E tt w- & "i *r: Se Jf zsc 4 £j±Jc*LJ ^£=P=\ ^S -%=^ =t=^t S m fl 4 — 3 H*-i— « 42 FIRST SECTION. > M= ^H :ti ^&- zst ft ^ gs- ■ r^r-?m ^ s 7 U - br 4 "- S '4 * £ The greater chord of the Seventh consists of the major (as opposed to the diminished) Seventh, and is expressed by the figures I ; it is used as a passing chord and as a Suspension, and may be made a five-part harmony by the addition of the Fifth; e. g. #1 *u ^^-^^t^ nn^s £ t The chord of the Ninth consists of the Third, Fifth, and Ninth; it is expressed by 9 8 , when the Ninth is resolved over the same (a permanent) bass-note : but if the Ninth be resolved over a subsequent note the figure 9 is sufficient to indicate it. The greater and lesser Ninth , the extreme, pure, and false Fifth, the greater and lesser Third, go to form this chord. The Ninth is a jDiscord which must always be prepared, and is resolved by descending; e. g. I ' "'• 9 8 C I 7 I ter r^ i- lff R ^m £8 P§ l jpv* — , — -a* d , * gigg t *. ^ m^ 3 SYSTEM OF THOROUGHBASS. A3 It is not always necessary to resolve the Ninth; its resolution may also be postponed ; e. g. i-. i_J~J „ SIS I I * 1 1— • « 9 3 3 S. 9 8 (i 9 8 J> 5 9 b P 6 L ^=F £=£ ^^ £ The Ninth must never be prepared upon the Octave of the foregoing bass-note , because this involves a false progression : see the example : £ - rJ - m m *=t ist concealed octaves. The chord of Nine^six contains the Third, Sixth, and Ninth, and is expressed by g with the necessary signs of transposition annexed ; forasmuch as all three intervals may be major or minor: e. g. I— J i J 8 |>7 "4 5 [j7 4 ^4 ^ * (without bass.) J- J 1= r*r~r i=s= 8 b ? seESe! fesfe^ gczisfc g^^g It is not customary to indicate by figures the harmony belonging to an organ-point; T. S. (tasto solo) is generally written under the bass-note, and the organist may then sustain it both with the manuals and pedals. fJ-^J-frU^- The following examples , in which the figures are set down , are in- tended to give a clear insight into the harmony, which, jf analyzed, will be found to consist for the most part of not very abstruse combinations. SYSTEM OF THOROUGHBASS. 4i> FIFTH CHAPTER. The entire system of Chords. The various forms under whieli the fundamental chord , viz : the triad as a concord , appears. The major triad, the minor triad, the diminished triad. fl-*— S-9-#-t— »**» Radical chord. 1 st permuta- < Won: the chord of the Sixth. 2d permuta- tion : the chord of Six-four. 3=**fEff t> M= II Beethoven, Studies. 11 -^- ■a g g^ : E^==£-^:31: g-^rU=g_ ! Sizzn± so FIRST SECTION The various forma under Which the second fundamental chord J viz : the Radical chord of the Seventh. » =a& minor 7 th, major 3rd, pare 5th, minor 7 th, minor 3rd, pure 5th , 1st permutation, forming the chord of Six-five. g a& > **.■&- -S> — gyg- - gg fi s- 2d permutation, forming the Chord of Sixfonr-three. g^ af kA>- s&- -Or- -&G- — appears, together with its three permutations. ^ r i ■* ' — ~i ^&.. >4 I H/5 * . ?? 1 ^ rt 9. ■ !s | ,c<_ major 7tb, minor 7th, minor 7lh, major 3rd, false 5th, minor 5th, pure 5th, minor 3rd, major 3rd, ■ J. S fO a ^ ^ ^a= ^ &-**-\Tf—**— pgg f^S Gh- ll -W- d^r M -&&- =©s: -S& z^Sz ^ gg 1 - zszz2^zBs5:: %= rfe S 2 =8= EIE =fe= * 32 FIRST SECTION. The Discords shewn in this table are called real or necessary Discords, because they always maintain their position, and do not momentarily usurp the place of another interval, or can be regarded as suspensions. They may occur both in the rhythmical and unrhythmical parts of a bar ; it is not always necessary to prepare them, and they are in general resolved over the bass-note which immediately follows them. There are many other Discords besides those given in the above table ; Discords in which certain tones are substituted for discordant or harmonious intervals, and which have the effect of delaying or suspending the next chord. These chords are termed suspen- sions, and may, for .the most part, be omitted without involving a faulty progression. They should properly be called accidental Discords , to distin- guish them from the real ones. They should always be prepared, on account of their harshness, and only occur in the rhythmical or accentuated part of a bar. In the free style of composition, however, they are sometimes used without preparation. — All chords which are originated by suspensions may be subdivided : 1 st, into chords in which there is only one interval of suspension, 2dly, into chords in which two such intervals occur, 3rdly, into chords in- which three or four such intervals occur , without including the bass, •ithly, into chords in which the suspending interval lies in the bass ; these, however, are termed also anticipations , because the harmony which forms the root of the subsequent bass-note is played beforehand, or anticipated. SIXTH CHAPTER. Chords with one interval by which the triad is delayed ~ The chord of the Ninth : i ±=±i F ±*±=± lliii * ^ -&- #* -gE^ ^i g^ M This Ninth, here changed into a Second, clearly shews the difference between these intervals , which sound exactly alike ; the difference consists not only in the dissimilar forms of accompaniment, but in the circumstance oftheDiscord, where the chord of the Second occurs, always lying inthebass. The chord of Five-four , or curtailed chord of the Eleventh , designated by the figure i, and sometimes by \. SYSTEM OF THOROUGHBASS 33 *=s =Mi i p * The Fifth suspended by means of the Sixth ; iifcuflU =t £ £ The arch over the figure 6 is here very appropriate;, for • the sake of marking the distinction between this form of the Sixth (where it occupies a permanent place) and its passing form, as for instance : $mm i 6 5 P^Ri^Fl ; . The octave of the triad is also occasionally suspended by means of the major Seventh'; e. g. fl fs^i -p- Here the difference between the major Seventh and the real Seventh (which descends by a tone) -is observable*). I 3~ Se I I 7 m * *) This is obscurely expressed in the original ; the singularity of the passage consists in the permutation of two intervals, viz : the note B, which in the 1st chord appears as a 3rd and is then changed into a major 7th, and the note F, which in the 1st chord appears as a minor 7th and then becomes a 4th, — though this change is fallacious , as th6 hote F continues to be a 7th (in the 2d bar) if the bass he written thus : ^)v ' — r II 54 FIRST SECTION. Chords with one interval by means of which the chord of the Sixth is suspended : The chord of Nine-six ; e. g. * r T 1 I i Efc ^ ^L -^^Ji ^ The suspension of the Third by means of the Fourth , in the chord of the Sixth , gives rise to a discord of the Six-four chord ; viz : t^p^pr^ ^ F==A±± f=^m Sometimes also the Sixth (in the chord of the 6th) is suspended by the Seventh ; e. g. i^ : -*— *- the Fifth is also used as a suspension of the 6th, M ^ g=£ i And the same liberty may be taken with the Ninth (or Second) in cases where this interval suspends (or delays) the Tenth (or Third) ; e. g, a or " « ra~ 3C ^ =sc ~~g~ Chords with one interval which suspends the chord of Six-four : The chord of Six-four-nine; e. g. the 6th in the chord of I '- ,---=^ Six -four may also be suspended by the Seventh ; e. g. $^m w? P=^ -rjr ^ t: i SYSTEM OF THOROUGHBASS. S3 In the same jvay the Fourth in the Six-fo.ur chord may be suspended by the Fifth, e. g. I or by the Third ; i ^ 3=± ^g When the Sixth in the J chord is suspended by the Fifth , the former must ascend : ppu=p= 2=^ =2 Chords with one interval by means of which the chord of the Seventh is suspended; The chord of Seven-six ; e. g. ^ m m The Third in the chord of the Seventh may, be suspended by the Fourth: i z£z --w- 2=3= -s?g- m - — ■&- 4 3 The chord of Nine-seven, e. g. =ff sometimes too the Sixth sus- pends the Se- venth. J^J i— i j A 32= S6 FIRST SECTION. Chords with brie interval by means - of which the chords of Six-live, Four-three, and chords of the -Second may be suspended ;.e. g. the Sixth is suspended by the Seventh; (in the chord of \.) ^ m the Third by the Fourth : JrJ = £=¥2f^ p the Fifth" e - by- the Fourth : • ^T ■ e 4 3 5 rt — ^\\ & -_ In the chord of Six-fouB-thj-ee the Sixth may be suspended by the Se- venth, the Fourth by the Fifth, the Third by the Second, and — in five-part harmony — the Octave by the Ninth; e. g. % =£ a=t -is Tfc~ 9r JS Sr^fe# W$ zm The Sixth (in the chord of the Seventh) is treated in a similar manner : i -g*~ ±3EE1m m =g^^ -f=^7W ^ S -5^- SEVENTH CHAPTER. Chords which are originated by the suspension of two intervals ; e. g. The triad with two intervals suspended ; The chord of | Nine-four : -~m pa m Subsequent resolution of ! the Fourth ot < the Ninth : in U^mk ^m m SYSTEM OF THOROUGHBASS. S7 In the free style of writing : -4 I I | 9 8 i ■ ■ , >* * „ r , 3 The Fourth and Seventh alone as suspension : nil . Suspension by means of the chord of ' Six-four. i - — -r i e ^1 The chord of the Sixth suspended by means of two intervals , viz : by £ the chord of Nine-seven ; best treated as a threepart harmony : e. g. * b I •",• sometimes the Third is added : l*^ iEEE x 3 In the following examples the Fourth and Ninth, the Fifth and Ninth, the Fifth and Seventh are suspensions : Jfr* ii ep g j — k ^*=* fct^r-jr t-; §s S ^ X The chord of Six-four suspended by means of two intervals , viz : the Ninth and Seventh, Third and Seventh, Fifth and Seventh ; e. g. mm s S8 FIRST SECTION. In the free (or florid) style thus : m * (Laugh, my friends, at such a coxcombical passage!)*) The chord of the Seventh suspended by means of two intervals : by the Fourth and Ninth, - - Sixth;" - - Sixth and Ninth, and - - diminished Octave ; e. g. J^J- fff _L i ;— BJ- ^TVsi- *.' Sg^ E£ i£ Suspensions of the chord of Six-five : W^ Js&fc ^ * T m: Suspensions of the chord of Six-four-three : u ia^a m *#^ I if i 3E 32 s ) Let it be remembered that Beethoven made this remark long before he had shaken off the trammels of the antiquated school; his own finest works abound in passages displaying far more license 1 than that which he here ridicules. P. SYSTEM OF THOROUGHBASS. Suspensions, of the chord of the Second : I M^&kd -S-t — *■ — ■*- =FS t ^=n f & & m EIGHTH CHAPTER. The triad suspended by means of three or four intervals. The greater chord of the Seventh: I, 6 I, J, J, which might he more properly termed the chord of Nine-four ; e. g. ilill^l=pp|lil|i £as± za. In four-part writing the Fifth is taken instead of the Second (or Ninth) ; e. g. tef t*t m= p=&m ^ 3 -0 0- 3=t ■J2Z This Fifth , or the Sixth which is to be resolved downwards , may also be taken in as a fifth part in the, harmony. ^d=d=f =r- =p the Second is often omitted instead of the Sixth; e. g. m 7 8 6 5 4 3 P^E When the harmony is in three parts, only the Fourth or Second is made to accompany the Seventh ; the choice depends upon circumstances : 60 FIRST SECTION. i sa fir ^ ^ f-f •±± -<=m J^i=J: 5i£ 23 7*3 78 7*3 ^-r— H — -* — J r — J ■ — J -'■— Lf j ■'.. S) — --J+— | to! , -H- ■( «J | a) _ 1^|»__ The triad suspended by means of I or I , e. g. i «e£ I — II 7 8 7 4'-. ' 5 ' 7 2 3 5 =Mei iE± The chord of the Sixth suspended by means of three or four intervals ; e. g. m Si £ * jgsEpgipi Suspensions of the chord of Six-four: e. g. gill f- i i b? H bo SEE£ The chords of the Seventh, Four-three, and of the Second suspended by means of three intervals ; i 3 3==t &r— ihr ^ dk * 3SHHT —f 3 ^?" =F3-* 5-rtrf~T p=^ -B^ SYSTEM OF THOROUGHBASS. 61 NINTH CHAPTER. Chords , taking their origin from a change of bass, which may also be termed Anticipations. — Anticipated triads , chords of the Sixth and of Six- four, in which the suspension or the accidental discord always lies in the bass : e, g. 4-- i EfeEJ E± i mm r=§= t w^m x x x x =1=3 -*--*- The harmony in the three last examples is known by the peculiar deno- mination of the Five-two chord. Anticipated chords of the Seventh , Six-five, and Four-three. W—tr f 6 7 * S 2 3 p= ± = fl =f=* a P £±3£Z J — I— J- — j; This anticipated chord of Six-five is commonly called .the Five-four-two chord. I i Sh- m * This is usually termed the chord of Three-two, and is to be symboli- zed by the oblique stroke , thus ; i ^ =f= p=^ ~fg g~ 62 FIRST SECTION. In all these cases of anticipated "harmonies the bass has been seen to precede them ; there are, however^ certain exceptions to be made in cases where chords of that kind are used (generally in quick time) through the medium of the irregular transitus, or passing. notes of permutation ; e. g. i ^eMeM m^m^^ l^p =F=r a •*' 3 e ■"G'-e i^^gp|S§i|ii^ C£ ^m r^ « » w 7 <■ 7 " J 3 m ^g^ ^k^^m &m ^g v fe n^^^ps SYSTEM OF THOROUGHBASS. 65 TENTH CHAPTER. The chord of the Ninth is produced by the addition of a Third taken below the fundamental note of a chord of the Seventh; e. g. :;s= 0ne internal is, however, generally omitted in this case: if the Se- venth be left out , the common chord of the Ninth is produced ; if the Fifth be omitted , the result is the chord of Nine-seven ; e. g. P- ^ The chord of the Eleventh is produced by the addition of a Fifth and a Third (that which lies between the 5th and the bass) to a chord of the Se- venth, the latter being placed above the 5th and 3rd, e. g. s. — i In this way the harmony would be in six parts ; but by omitting the Third, Seventh, and Ninth, we get what is called the curtailed chord of the Eleventh or the common chord of Five-four ; e. g. -«■ — i (!) by transposition we get the chord of Seven-four. $ rsz: (closer together.) The chord of Five-two : The chord of Nine-four is made by leaving out the < Seventh and Third : 1 Qg Z3C 64 FIRST SECTION. By omitting the Third and Fifth the greater chofd of the Seventh, a very Common one , is produced : ^ i (i) n Another chord of the Seventh is .produced by leaving out the Third and Ninth : I which, when, it occurs upon the Domi nant, or Fourth below, i- /rv & allows of the following permutations, the third of which is generally termed the chord of Five-four-two : i -*zz- JS&Z ^sHEL JS&Z The chord produced- out of the entire harmony of the Eleventh, without is not very usefuj in that form ; but by the Seventh and Ninth inth, g| the first transposition bf it we obtain the chord of Nine-six : i The chord of the Thirteenth is producedby the addition of a Seventh, Fifth and Third taken t below the fundamental note of the radical chord, of the Seventh; e. g. * ■ft •* complete, as.it here stands, viz: in 7 parts, it is considered impracticable; SYSTEM OF THOROUGHBASS. 65 some of its intervals are "therefore omitted. The following, chords , which are based upon the harmony of the Tenth and Third, are in general use : ■fi-! i zzzsr. This chord (that of the Seven-six) seldom occurs except upon the Do- minant; e. g. i 3C ZZ2Z. in like manner also the chord of Seven-six- four : % zsc. The chord of Nine-six-four occurs, on the contrary, for the most part upon the Sixth interval, or, if it be ,in a minor key , upon the Tonic itself. J- 1 w- r The chord of Nine-seven is very serviceable in cases of enharmonic modulation; e. g. ^ 5 1 #Z P -^ -^ Other specimens of these modulations : i ±%=m W &=*=&. Ir \>i \>7 bi zzn b« J& Beethoven, Studies. 66 FIRST SECTION. SYS.TEM OF THOROUGHBASS. E| e fe^: fe V#T b' 5 1221 g^ The connecting intermediate chords may also be omitted, and it is allowable to make chromatic progressions in the harmony, as shewn in the next example, provided that consecutive Fifth's be avoided; e. g. ft' SEfe w^&WW ~M \&&~- fc i I?? ft „# *^si n E± &~ k^ . b* Jtt \k 3C rn^ "b b; SECTION II. THEORY OF COMPOSITION. FIRST CHAPTER. Of the elements of scientific composition. There are two kinds of tones , or musical sounds , viz : consonant and dissonant; the former, when combined, produce harmony, and the latter discord*) Of the former we possess five, viz : th'e Unison, the Third , Fifth, Sixth, and Octave: — of these some are perfect, others imperfect. The Unison, Fifth and Octave are perfect; the Third (as also its Octave, the Tenth) arid the Sixth are imperfect; — this catalogue includes all the various phases under .which they appear. — They are. called perfect because they cannot be raised or lowered by a ft or a (7; the Third and Fifth are. called imperfect because they may be raised or lowered at pleasure, i. e. may be made major or minor. The remaining intervals , the Second , Fourth , Seventh and Ninth (together with all their ibrms in combination) are Discords, arid the above- mentioned Concords immediately become Discords on being removed from their perfect. or imperfect position, i. e. on being made diminished or extreme. A great difference of opinion exists among theoretical musicians on the subject of the pure Fourth^ which, being placed between the perfect and imperfect Concords, may be classed either with the former or with the latter. Strict theorists, and such as retain antiquated views of the science,, term the Fourth a Discord! There is no disputing about tastes ; to my ear, when the Fourth is combined with other tones, it.is not in the least degree discordant. *) These are only relative terms ; what is here called a Discord is only dissonant ( or unpleasing to the ear ) when not combined with other notes which can meta- morphose it into a chord that shall please the cultivated ear as well as the Octave or even the Third. P. 68 SECTION II. All musical composition is based upon these elements , and these inter- vals, varied and combined, both as to their position and their movement (i. e. the progression from one interval to another) are the materials with which the composer has to work. — The movement (motusj is of three kinds ; mo- tus rectus, motus eontrarius, motus obliquus. The motus rectus, or direct movement, is that which is produced by two, three, four, or more parts (voices or instruments) moving either up or down, by adjacent or distant intervals , together, i. e. in the same direction : e- g. ...... {I 4- ,1— -l/t"" ->- — — -= .' . _ , I 1 (by near intervals) ^f = r = F = "R^^ = -^^^^^ I zg-g- y-f-'ifi y- &E ~4=i- -kr (by distant intervals) £3= =E ~t=£ X *=£ * =t The motus eontrarius , or contrary movement, is produced by one part moving upwards while the other moves downwards, viz: in an opposite direction; ;both parts progressing by near or by distant intervals. .*>f* Jr -IE m *tt -*-0- i. -£ i m p^m^m^^ ^m The motus obliquus, or oblique (sidelong) movement is produced by one part rising or sinking, (by degrees or suddenly) while the other isr confi- ned to one and the same note repeated more or less" often ; e. g. ^^ There are fotir car'dinal rules bearing upon these three different kinds of movement , viz : THEORY OF COMPOSITION. 69 1st; from one perfect Concord to another, equally perfect, the pro- gression must be made by the motus obliquus or contrarius ; e. g. i -I— -I ' j— -U r r ^~r 8dly; in a progression from an imperfect to a perfect Concord the mo- tus contraries or obliquus is also to be used; e. g. i ^ m -\=\- 3dly ; in moving from a perfect Concord to an imperfect all three kinds of movement may be used ; e. g. % X 1 ^mm 3= 4thly ; the latter rule holds good in moving from one imperfect Concord to another equally imperfect ; e. g. ^mm 1= The result of these rules is that the motus contrarius and obliquus -is to be used in all three cases of progression , and that the motus rectus is only to be avoided when a perfect Concord follows one that is imperfect, or when two such Concords follow each other. Upon these three kinds, of movement rests the whole system of harmonization. 70 SECTION II. SECOND CHAPTER. The word Counterpoint means dot agaiust dot, because our forefathers used dots (or points) instead of the notes, which we now use, especially for the antient choral chants which they wrote down in this manner. The latin phrase is punctum contra punctum (point against point) or nota contra notam (note against note). " V THIRD CHAPTER. Of the five different sorts of simple Counterpoint. The first species, in which only one. iiote of a similar description is pla- ced against every other single note , is the most common ; it is indifferent whether the notes in the composition be Semibreves, Minims, Crotchets or Quavers. — The Allabreve-measurement of the bar is , however, the most convenient and useful for the beginner. In the upper part, which is written -to a given bass-, every .note must be either a perfect or imperfect Concord ; the first and last note must always be a perfect Concord. Here the three methods of progression "may be used alteVnately , and it is better and safer to use the motus contFarius and obliquus as much as possible ; for these two forms of movement are far less liable to errors than the motus rectus, which last demands great attention and careful treatment, as will be seen by the examples. With respect to the conclusion of the piece it is necessary to observe that when the canlus firmus (canto fermo,. or plain chant) lies in the lower part, the last note but one of the counterpoint. must be the major Sixth; if, however, the plain chant occupies the upper part, the penultimate note must be the minor Third below , after which the cadence or close is to be made in the Octave or in the Unison. These two intervals may also be used at the commencement, as also the Fifth ; though not in the lower part, be- cause then the piece would not begin in the key which properly belongs to it. None of the last-named intervals are allowed consecutively in course of the piece. In the second species of simple counterpoint the notes are written in two half bars, or two minims to a whole bar, or to a Semibreve. These two notes are technically distinguished by the Greek words Arsis and Thesis, and correspond to the up-stroke and down-stroke in beating the time. The THEORY OF COMPOSITION. 71 minim which stands in Thesi must always be a consonant interval ; the other minim in Arsi may be dissonant if the progression be gradual, and consonant if the progression be sudden, i, e. to a distant interval. Itappears then that no Discord occurs in this species of simple counterpoint except when the space (or interval) which lies between notes separate^ by a Third is filled up; e. g. i & ^ 3e£ This filling up , or the note in Arsi , may sometimes also be a Concord, as the following example of a concluding cadence shews, in which the first note in Thesi must be a Fifth, and the second in Arsi a major Sixth, when the plain chant lies in the bass; but should it He in the upper part, the first note must in like manner be a Fifth , while the second note must form a minor Third ; e. g. Counterpt. Plain chant Plain chantl Counterpt, m fefE 4=1 It is advisable to give especial attention to the two last bars (the ca- dence) and to bear them well in mind when constructing the plain chant. — For the sake of facilitating the counterpoint the composer is allowed to write a, minim rest in place of the first' note , and to take intervals as distant as a Sixth or an Octave., (to prevent the parts from approaching each other too nearly) or to let these distant intervals cross one another, so that the highest of them shall lie below, an d the lowest above. Great-care must ba taken to avoid two consecutive Fifths or Octaves in Thesi, which are sepa- rated in Arsi only by the space of a Third; e.g. ^=t=f^ -t=z. ^ =t ^E B * 3 - g - - S 3 ~7S 8 6 8 6 ISC for .the intermediate note is looked upon as of no accouttt , in fact as if it ,did not exist and thepassage. stood thus: 72 SECTION II. T 1 5 8 8 [lt$ — ^.. — - f7 because the two notes B and A which seem to annul the consecutive 5ths, and the notes C and, B which seem to annul the consecutive Octaves (v. last Ex. p. 1\.) only do this for the eye, and not for the ear, which last is not affected by them. It is held more permissible to write passages of this sort, viz : =1=2= £ 3 =P m =t ^ * m — °~ 1 /^ i — -* i — ^ it i n ' ",> i the effect of which is not so disagreeable 5 but with all respect fort the lear- ned theorists who grant this lioence, — I am not inclined to profit by it; inasmuch as the consec: Sths and 8ths are still to be heard, in spite of any such attempts to obviate them. — Regarding the movement alMhe foregoing rales are valid. In the third species of simple counterpoint four crotchets are written above or beneath a minim, and in various ways : — 1 st, when all four notes are consonant, e. g. £ £& X =p =t= & -.368 w=fc X £ £ 2dly, when five crotchets, rising or falling in near intervals, follow each other, the first note must be a concord, the second (alternately) a Discord; e. g. 3& t=t X -&- £E$E -m& 3dly, the second and third note may be consonant, and the third dis- sonant; e. g. -. rf— t-T— ■— f- | r^-AP — — ■ 11- ■H-g : j S 4 3 c=ir *• — - 1 THEORY OF COMPOSITION. 75 4thly, when the cantus firmus lies below it is allowable to descend from the Seventh (although that is a Discord) to the Fifth, premising that the note which occurs before the 7th must always be the Octave; e. g. 3tE £=E=E B|E 2 If, however, the canto "fermo lies above, the counterpoint may descend from the Fourth to the Sixth, provided that the first note of the bar form a Third to the melody ; e. g. 3E zsz fa^g^t A note like this Seventh or Fourth is called a permuted note, nolo, earn- biata. The interval of a Third, which lies between the 2d and 3rd note, ought properly to lie between the 1st and 2d, because then the 2d note would form the Sixth and not the Seventh ; e. g. 3£ £ 3ESE :f= (or filling up the intermediate space.] : E$E =t It appears therefore that in this species of counterpoint either all four notes may be Concords, or only the* first three, and the 4th a Discord ; that in like manner the first and third may be consonant, the second and fourth dissonant ; or, the i st and 4th Concords , while the 3rd is a Discord ; the first three may also be Consonants, and the last a Discord ; e. g. 3fE "I^EE £ The rules as to the various kinds of movement (motus) are to be obser- ved as aforesaid. — The first note in Thesi must always be a Concord. 74 i SECTION II. When the canto fermo lies in the lower part, the last bar but one of the counterpoint must be so contrived that the final note, preceding the Oc- tave at the conclusion of the piece, shall form a Sixth ; e. g. fe^EgE £E$EE 3=t £ «: But' if the canto fermo lies in the upper part, the counterpoint must be so managed that the final note of the last bar but one, shall form a Third, after which the Octave forms the close ; e. g. 1 i*feffii= P£ 3 4 G 5 -f*-# S^^ :fa^ 1$E W S§=§ The fourth species of simple counterpoint consists of two minims against one, which. two notes are identical, (upon the same tone) and are connected together by a 'btnd; the first note being inArsr,,the s'econd in Thesi. This bind is called ligatura or syncope, and may be of tw,o descriptions, viz : as serving to connect Concords or Discords. In the first case it is placed over the tw(j, minims which both in Airsi and in Thesi form Concords with the plain chant,' e. g. m* i— (SL. % & * =t $mz -&z In the second case the first minim (in Ansi) must invariably form a Concord, but the second (in Thesi) a Discord; e. g. ^ ~i?—-Si Ib£ for if we imagine the second note (G) to be obliterated, or it be really left out, all three of the intervals form a harmonious (consonant), progression; e. g. ..< - •. THEORY OF COMPOSITION. 75 3fE^: E$L ZZZL In accordance with this rule the Discord must gradually resolve itself into the Concord, but the Concords thus bound together may move in wider intervals, as has already been seen. When the plain chant lies below, — the Second must be resolved into the Unison, the Fourth into the Third, the -Seventh into the Sixth, and the Ninth into the Octave; (he Sixth, which is retarded by the bind upon the Seventh, falling upon the last bar but one ; e. g. HJdEGEqi: se£ g . ' ( » ■ eh- 3f£^E& t=x- 3 2 1 _£2 6 4 , J a - 7 fi s£ -&>- -&zz Cadence, or Close. X * ::f=- £ If, however, the canto fermo occupy the upper part, — the Second is resolved into the Third, the Fourth into the Fifth, the Seventh into the Octave, the Ninth into the Tenth; and at the close (in the last bar but one) the Se- cond is made to descend , in a similar manner, to the Third below; e. g. 3E 3£Z ISC ^ I? m W$E^. -ss «= 76 SECTION II. It remains to be observed that when, as it often happens , the bind cannot be made use of, the same bar may now and then be filled up with two notes struck separately, without the ligatura. The following progressions are forbidden : S£- =i2Z I 3E?E t=rc 3JS: W] r ? & hg t=X X X X 2 1 2 9 8 9 8 £$E 1ST 3C because they sound like occult Fifths and Octaves ; for if we imagine the notes connected by the bind to be removed, it will be seen that the Fifths and Octaves are consecutive ; e. g. ~ — tr^ — i — 'ii - r \—s> /5 M r *\ n* — i ■ dr : h^- — f- — & — i 11 S 5 5 B 8 8 h-fr- g 4 — -- — a. - ~ . f3 -s> i ii i 1 The fifth species of simple counterpoint is called the florid or ornamen- tal (Contrapunto fiorito, or Stylus floridus) because, in addition to the four previous kinds in all their combinations, ..other variations and enrichments of the accompaniment to the plain chant are adopted ; e. g. m^ ^sess -++- ^x -a- instead of: this variation : 3E^E 3C afff % m *-•-*- m £ tFF x instead of: variation : instead of : variation: £ £ The first two notes in Thesi may also be crotchets, and the next one ( in Arsi ) a minim , or vice versa ; the first note (in Thesi), may be a minim, while the other two , in Arsi , may be crotchets ; e. g. §^ £ B£ THEORY OF COMPOSITION. 77 in short, — with exception of those cardinal rules which in the strict style are inviolable , viz : that none but perfect and imperfect chords (Concords) are to be used, and that all Discords (as chords) are excluded, — florid counterpoint may be regarded as a more unfettered class of composition in this style , and as allowing of more variety and caprice , also of more melo- dious vocal part-writing. The bind may be used with peculiar advantage, and is therefore strongly recommended.. The cadence , or close, in the penultimate as well as in the concluding bar, is that of the second species already described, viz : above: t1~T ■ ; below: « r^- j. FOURTH CHAPTER. Examples in the five different sorts of simple counterpoint. In two parts fa due); — with remarks thereupon. FIRST SPECIES : nota contra notam. NB. NB. Counterpoint. Cantus prmus. m 4afe i££ NB. r? —j — m- The first NB. is to mark the cadence upon the original key , which is effected by the progression of the Third' to the Octave , and is forbidden in course of the piece , being only permissible at the close of it. The second NB. points out occult Fifths in succession ; the third NB. shews, another for- bidden cadence falling upon the Tonica. Great care must also be taken to avoid two consecutive major Thirds, viz: £# ! % I because they form an enharmonic false relation; which is called mi contra fa, or fa contra mi, forasmuch as the first of them belongs to the Sharp keys , and the second to the Flat keys or scales, a concatenation to which the latin proverb, „Mi 78 SECTION II. contra Fa est diabolus in musica," refers. — There is no doubt that a pas- sage like this is difficult to sing correctly — and so is the extreme Fourth — the Tritonus — and the major Sixth*), — and on that account may be -for- bidden, as is also the simple Unison in course of a piece in this style ; and it cannot be denied that this „diabolus in musica" (as the old writers termed it) sounds somewhat harsh in two-part harmony: — but that objection is removed , in my opinion , if the harmony be written in four parts , e. g. i fe — :3: £f a 9 — ISZZ w I do not find the transition from E to F, in this case at all harsh. — A succession of Thirds is to be avoided, because they produce a vulgar sing- song effect; and in like manner a succession of Sixths; extreme-Seventh- intervals and those which extend beyond the Octave must also be, termed incorrect. Cantus firmus [ [ point.-i \ Counter Sf Z£ s$ ZSE i^dTSt fe£3§£: Counter- point. Cantus firmus. 1 rj A — tfH^r —— — —&— i&- rM-: U *!' "a 8 3 6 33635 G 6 B 8 S7 ■U-*fc- — -& — ■ —? r - t=X 5 8 3 4 H=^: 6 5 8 3 4, 6 &£ :fes=F^- £ 3=3 3 4 6 3 6 3=*: £ iVB. This interval is difficult for the singer to hit , and should therefore be avoided. *) , s " ' *. &— . —^ Cantus ' ~ firmus. Counter 1 1 point. O^E 3 6 3 5 3 4 3SES ^=ff=^^Ep m 3 3 -75 S- *) It is easy enough to sing, but the passage is bad, and offensive to the ear. P. 80 SECTION II. 1 & ~' — 1 rj & u — |— j— - 3 C 3 6 — 1 "1 : ,(*'■ 3 10 <*- 5 3 i ii ! — -J -^sh -*=*=-- - In this case it is better to make the imperfect consonant intervals, Thirds, Sixths, and Tenths, fall upon the accented portion of the bar, and those which are perfect, viz: Fifths and Octaves, upon the second note. Couriter- point. Cantus &£F -f2= :t= S - ps^zteL 3=* ~- 3 \/i zSo 3^=± w. bi W a=t= ^F £ Some musicians would consider the two occult consecutive Octaves at NB. (No. 1.) to be rendered permissible by _ means of the intervening- Fifth above, which perhaps softens the effect to the ear; — I do not agree with them! NB. £L Counter- point Cantus ' flrmus. 5 8 7 36 8 *> 8 9 ^_^ E 3 __ : _- = j_^ =q= =^= = NB. NB. =f= -«- .•^fe. £ H= 5 ']* The Unison at NB. (No. 2.) is good, because it falls upon the unaccented portion of the bar ; it is only forbidden in Thesi [ on the \ st note) where it would sound too thin, and moreover form 'a close. — The last cadence is written according to the Phrygian mode, viz: C, D, instead of C, D$, be- cause the ground-note is F. THEORY OK COMPOSITION. 81 Canto fermo. Counter- point. S3$E faEEEE J -S) -&■■■ ■ NB. 1 g- za= s; =^= * it -f=- rr?ar_ it NB. here the lower part rises above the upper; the Sixth is symbolized (although it sounds like a Third) because the interval is always reckoned from the bass. In the last bar but one the Third is prepared by means of the Sixth; a license imperatively demanded ; for if the orthodox Fifth be taken, it would produce an enharmonic mi contra fa. In cases of triple time (as below) the middle note may be a Discord j if all three notes proceed consecutively ; but when their progression is not so regular the rule is to be strictly observed ; e. g. =^ rt ^m d£=EEt=t \m 3= F=i =t==t =t=t -0J- -<5>— 2E5 rsc (Continual dropping wears out a stone ; not by force , but by constant attrition : Knowledge can only be acquired by unwearied diligence ; we may well say „nulla dies sine linea", no day without a line ! every day that we spend withoutMearning something is a day lost. Man possesses nothing so costly and precious as Time.; therefore let us not postpone till tomorrow what may be done today.) In the severe church-style (in which all sacred music should be written) the composition is intended for voices only, and on that account the harmony Beethoven, Studies. " 82 SECTION H. is restricted to perfect and imperfect chords, in order that the intervals may be easier to sing than the diminished or extreme ones: in this style it is also forbidden to use two indentical notes in succession, as for instance, cc, ee, gg, etc.; but this rule also has exceptions, viz: in cases where the ligatura rupta,- or interrupted bind, occurs; e. g. -t £ fin the fifth species) and again, in cases where several notes are repeated (in vocal music) for the sake of uttering. words composed of several syllables; e. g. fe£ £ £ EE; P=P S :t=fc Glo-ri-a in ex - eel sis in ex -eel -sis De-ol In the free style , which allows of Discords .in Thesi, two, notes against one are treated : 1 st as follows : the first note may be a Concord , and the second a. Discord; this, as aforesaid^ is called the regular transit : — 2Iy, the first note may be a Discord, and the second a Concord, thus forming the irregular transit. But these Discords do not belong to that class termed acci- dental or real. Real Discords must be prepared by the harmony preceding them , and resolved by that which follows them ; the Discord as well as the resolution of the same may occupy one or more bars ; and, similarly, the harmony which prepares the Discord may take up a like or unlike number of bars ; i. e. The resolving harmony may occupy more, but on no account less bars than the harmony which prepared the Discord. Accidental Discords must be prepared in the same manner, but their resolution differs in one point; inasmuch as real Discords are resolve.d only by harmonies which follow them, accidental Discords by the self-same chord. Discords are then of three kinds: 1st, of the regular and irregular transit; 21y, real; 3dly, accid'eifal. By this means are produced consonant and dissonant harmonic combinations with one or more discordant intervals. ' THIRD SPECIES of two - part simple Counterpoint. Cantp ferrao. Counter- 1 point. ta£E rsc: lfeEE£££^ g£ l=p3 £B ££ THEORY OF COMPOSITION. 83 Pi ISC 2 3 4 10 8 6 3 pn= »f-0- £ ¥-r-p-=-m- »^\~?-+ -0-fi-l «£es I - [ tt=SE^E5^fe = -^^f^^ Counter- I ffl "sSztE point. I Ca»tos firrnus. 0-3-0-*- Here, at NB., the major Sixth (springi'ngfrom 'C- to A above) has a bet- ter effect in the first two notes of the bar than, in the latter half. — Care must be taken to avoid monotony (monotonia) viz : a repetition of the same passage in two consecutive bars, the bad effect of which is not lessened even by changing tha- ground-note ; e. g. The following Ex : may serve as a guide wiih respect to the use of near and distant intervals : ' =r EEt :t= E3S #-»- =fc £ The practice ofspringing from a note to its Sixth below is seldom good. — Viz : more than 3 or i distant intervals in succession are not legitimate. The Fourth, where it appears as the third note in the upstroke of the bar, -mustrise or fallto the next note,' unless indeed when the Counterpoint moves in such a manner as to touch upon all the intervals ofaperfect or imperfect harmony in regular progression, thus letting the dissonant Fourth fall only upon the, unac- cented portion of the bar, viz : upon the 2d or 4th crotchet; for instance: 6* 84 SECTION II. =3£ m$E =p=£ i*f* i^se zsc Cantus flrmus. Counter- g^= iVB. 6 7*7 1 3 « Ssr I te ^^frf#ESfeJa^ « 3234 1 9 ft T S * 3 5 ses * yr «: £ B $ $3q= -«-*- *-*■ «=tt At NB. the Fourth descends to the Sixth by a praiseworthy license ; because alLfour notes lie in the chord, and are therefore easy to sing. Counter- j point. Cantus firmus. y ft^ H^ra^aE^fe E^E ^ gg 9 1D6 #3 £ 8 7 6 367 10 9 111 t m& -0-0- S =P=tt -!«-•- NB. * 3=ttt= h^S* t==tt PE fc|3 5 8 7 3. * 3 J 3 fcjj 5 S S 7 5 5 ISC NB. Here the Seventh is made to glide (as passing-note) into the Fifth, a very effective close invented by JohannFuchs of Vienna, author of thefirstthe- orelipal work upon scientific composition, called, ,Gradus ad Parnassum", a va- luable book which was published by command of Charles VI. Emperor of Austriar FOURTH SPECIES ,,.„■• of two-part simple Counterpoint. ' ^ Here a bind or Hgalura is allowed in Thesi (the downstroke of the bar) which may also produce a dissonance;- it is therefore necessary to make Theory of composition. 83 some remarks upon the resolution of such Discords (resolutio dissonantiarum) viz : a note thus bound is nothing more than a retardation of the one follow- ing it , which is then set at liberty by descending to the next Concord, i. e. the note immediately beneath it ; in this way it is resolved. In order to avail himself of this ligatura at the commencement of the piece , the composer must write a minim-rest occupying the first half of the bar ; e. g. Counter- poir liter- J int. I to ] 0. \ Canto fermo. Efc fb -— 1— 1 II rt II 'a 5 6 3 8 6 8 Chor. . in . >H 1 < ■> ■'" n - t^l 1 ,1 >s 6— 1 t— 1 1 1 3 8 B 8 3 3 Chor. r5 ^ — f± — 1— 1 — — o 1— 1 1— 1 — t— 1 — 1— 1 It will be seen therefore that theCantus firmus may be carried through all the parts' alternately; but in this case the clefs must be changed, and the melody transposed accordingly, to prevent it from lying too high or too low. Cantus firmus. ■&=*> & ' —& — -m*. — s> — T-& - r, O 1 r®-" . — S ■W-3— «f5 ' 3 33355636 8 mrter-a- —iS — -&—■ t-<9— r-<&— ' e2 — F 4 - tp q #=U: 5 8 S 8 103 3 5 3 # ^I-jHb — as~ 1 i ^ or -s> — — H— 1 9— fp— ffiz - rS -«--f-» f \ — 1— I L— -X JU?r4,— - C&ntus firmus. Either the major or the. minor Third may be used to form the close. 2C rtp-g 3S7 J^^ EJElEJ^EfeiE| isz: iSl 6 6 S 8 \)% b 3 3 !32_ ZgZZ. -a— 8 3 8 10 8 \S-S^L il_. ~?2 ' r .T t^Tl &■ THEORY OF COMPOSITION. 94 Cantus < firmus. Cantus firmus. J r _ r— ■ Ht^ — — zz~ r— — -1 ~ 1 1 r-G>- ~~&~ r-Mq] dL.tr -ZE" r? f.T\ \\j, <* •.t * * — ^ s ~\ s "W - : ~~xr s ?" 6 .4* fr" *;??'. jl io'J^io 10 10 8 lo 10 s 1 , - /|u '^ 'i.. .-...[■ 1 1ST : t^*^ -^A-^As- "9 rj -1=4-: i 3 3 3 3 8 6 1 6 1 5 8 •» 1 \ ™ L "» rfr K^ ~ n If/ — L 1 — \~&-\-&-4—^-\-&A — — L-s- - -J >-- »- JJ- 1 -tys- _^-J_^Lb^ a \ „ \ .- ... .is. . ■—?5—\-\f& — 1— 1— 1 — dCS 31 ^ -<=M-!S^-4— — —c^—L^—— j-E^-- - ffl-3- 3 b» 3 3 [?G 10 5 3 3 1?3 3 Fnl" —7- Ol S>~ ~0— ' — s> — ->—-<—- " o _lp 85353303 586 8 4 L 1 3 ff I / £, /=> •5 &_ 1— — 1 . * Lg.-JL^ t— A SIXTH CHAPTER. Of the second species of three-part simple Counterpoint. Here again , as in Bicinium , two notes are placed against one, and the third or ripieno part is composed of notes equally long with those of the plain chant. Two octaves, Fifths, and Unisons, are allowed in the middle parts, if divided by the interval of a Third, but they are considered faulty if occurring in the upper or lower parts ; e. g. ■» r> 1 1 1 1 rj /5 " 1 1 f 3 fj z) „ Sj * 1 . f ' 1 — 1 5 3 5 1, s 3 s 8 : s 3 8 | 1 *-i. „ *£ ' 1 J & rti r; *5 1 1 Good. Bad. Bad. It is better when these faulty progressions occur in the unaccented portion of the bar (in Arsi) e. g. ; p=g — I a. np : PBEjEl- 92 SECTION II. (The effect is certainly not quite so unpleasant, but still bad, and I cannot approve of it.) It is also permittedftp begin with a rest, as in former instances: a Discord may be placed between two Concords of similar name; the downstroke of the bar (Thesis) must always be on a Concord , the up- stroke (Arsis) may — • in near intervals — include Discords, and also Unisons ; which latter may only occur in Thesi as forming the first and last note , i. e. in the first bar and at the close. — No Discords, as taken in distant intervals, are allowed except the diminished Fourth and Fifth. The following cadences may be made : if" Chorale. "-M: m «= i Chor. J=t \E^Em. - g — s >- Chorale. :(=* :W> tS> 1 c«q ,9 1 pt=t=f — !=--«>- F^ - ^ 1 1 /* "' -t ' 1— — 1 - 'J ' 3 8 6 3 8 768 3 3 Chorale . X „ , . .. fS, -& — ! 1— -. . \ +1^} a — -s- ■-S- — fi> K^— J — s — 5 3 Sofl 3 3 76 8 Chor. cv— a. 1 f° ^T — i- — i— i— \ & V - — ~ — 1— 1 1 — — t— 1 — — — ' d— -1— H— Lt_E= -i— 1— -1— 1 — — F— H q-l=t IS 5 IS Chorale >=3tl S^H^e^ Chor. :f=J=i3 Canto fermo. Filling- up . Counter- point. WE THEORY OF COMPOSITION. —t-^ — r«>- 95 eE=z VUaL, BS 'S> — 5.6 8 7 5 8 54 108 5 8 5 -«>-— == _s,._ -;>- ' SI la a^ 1 <-. 3 4 3 2 3 qac .t=* «-^ PP 6 3 6 3 m 2:52^: :W: Counter- point. Canto , fermo. ^ Filling- up. rt — i ^r&- i—rgr [f-f- (2-/Q , p^r &£: Btfcte^tr 4 ^ -1=4= 44- ££- 4^P£: 43- 1 — i 1 ■ i ■ -1 — -■ 3 32 34 34 5 5 -1 b 3 6 3 2 -«- r-S 1 8 7 5 6 S tinh * — s 1 — 1 . a .. -s> — -S> -fcSJ-- m *>-j%±i- -^ . ft 5 8 5 .3 3 a 3 3 1 /TS 1— 1 i-9 ■R-fb " - | i— F — s f L —/ar- -® — L« — i -(9 — i V-Si 1 As will have been seen from the above, it is customary to use the simple and more easily read symbols 6 , 4 , and 3 , instead of the double figures 13, 11, and 10; more especially as the distance from the bass causes no alteration therein. Counter- point. Filling- , lung. v Canto fermo. : ¥==FF^ ggig|g§§ii§i§^ ^^-- 86 5' 3856 38 '5 6 8G34 633 ft -S2_ I2C i s* -S> <«- 5 3 ■S>- =T ^ zs:. Filling- up. Canto fermo. Counter- point. =5P?=a= azzac ~&=§ & J2- fer. 8 3 t 3 — l? 3 — 543 % 8 3 |>3 fefe 3C 5 3 S - 3t— -w~ ateM: THEORY OF COMPOSITION. 93 The last transposition of this ighorale might be made , for the sake of variation^ in the following manner. Canto fermo. Counter point. < Filling- up. : M —<2Z BE* ^-g^g^^g^grggg^gg^ 123)74 8 \>7 5 H f,3 1 I g 5435 2ZI m Seventh chapter. Of the third species of three-part simple Counterpoint. Here particular attention ^s to be paid to those notes which fall in Thesi. If the harmonic triad cannot be introduced on the first crotehet in Arsi , the composer must attempt to. do so on the second or third. — Discords are only to be used progressing in near intervals, step by step, and falling upon the unaccented portions of the bar. The cadences may be modified as in the examples : Chorale «: £S £ m Chor. ^m *-i* s 31*3 8 5 8 5 8 3211 Chor. 3 pi a - d -1— H— ._!__! — \] — 1— 1 — — ,s> 1 — ^H — -l-H— -i— 1— |f — -H^ — -1 — 1 — (Passing note.) ^a^aae^ a^gai^ Htet 3456 8 1067 M SBF^ » =W M 96 SECTION II. m^&Mgm ^ Bad. Bad. Bad. W ,— 3 =z jSP The three last examples are faulty, because Discords are taken and avoi- ded by means of distant intervals ; also because the octave is suffered to fall upon the accented half of the bar. -Unisons, Fifths and Octaves may occur in the middle part, provided that Ihey are separated by intervals , and one of the two other parts has a contrary movement. ,*■ ■*■ Counter- point. Canto / fermo Filling; upTT iE £g§p^^g^£^ ^ 8 7 6 3683 10987 3 £2. & a 'I 3 8 7 6 5 hafc [&-= :sc: jSZ [^mmm^m^m^m^ \W- 10 89 10 10 987 FT— Sfc- 3 3 6 5 3109 s« *=t In transposing "the clioral chant the composer should seek to introduce new harmonies. Canto fermo. Filling- up. Counter- point. §Nl ^ %d& ~£EZZ 368 1 II fl 87 3 3 3 2 13 S G 7 8 i 3 4- ^ ajB^^^jgfe^^ THEORY OF COMPOSITION. 97 i , <5 "-■ -1=4- 122:: ■^-— - 3 5 4 3 S7G8 a G 5 4 3 4 3 5 343S 343- 2*=3 p3^a^feg^^SE£fi3 ** Fillirig- up. Counter- point. < Canto fermo. 15 EE ^Eggg^ggg^ggggE^E^ Has St 32 3 4 3 1. B367 3238. 5 ff 7 8 u- 3 6 5 JSL ,^« „ s>_ :ai *E 4=4- 3C J^^P^f^g^^^^^ 3123 638-3 S8109 3123 3231 687 In accordance with. the rule already laid down (as relating to the two- part species), it is permitted to overleap th& Fourth, as harmonic note, and thus to produce the Six-four and Six-three chords; provided that the Fourth is made to fall upon the unaccented part of the bar, in Arsi. Canto fermo. Filling- up. Counter- point. 4 5 310a 8 10 5 8 7 G 3 5 8 7 1 IgXXrHT^fB f ^gpgg^^ Beethoven, Studies. 98 SECTION II. 58763213 5 — 438795 3 J^E^gg^EjE^^ Counter- point. Canto fermo < Filling- up. g ga^^^^^^g 5 3 5&6'e|?7 6 5 68l?236.53|7t s|749*«l;<-7S _6 7 2 1 3 6' 6 4 m=* =*=^^m Jfe rrg?. — *»— : - ^ I THEORY OF COMPOSITION. 99 *=t l i33 3 S 3^ ^ =P= ^=y fefe^: 8 6 5 6 7 P& 3 6 7 8 3 4- b} S 3C EIGHTH CHAPTER. Of the fourth species of three-part simple Counterpoint. Here again the rule demands none but consonant chords inArsi;',in Thesi , where the ligatura occurs , Discords, together with such combinations as accompany them , may be written ; e. g. *, |, \j f |j ? f- \«_, fg, §£, %L- Thus it appears that even the chord of Six-four may be used in Thesi. All Discords are to be resolved downwards. The incomplete chords t> l> Is I ma y on ^ ^ e " se '' m ^rsi, ? n( * on 'y m foe first and last bar. The lesser Third may be doubled advantageously, the greater, on the con- trary, only as third tone, in the middle parts, and never as seventh tone or semitonium modi. (Many passages are forbidden in the higher . regions which are allowed in the lower; because the bass tones do not" affect the ear so strongly as the acute tones: soprano voices resemble light; bass voices give the idea of darkness.) When the bass does not move on, but rests upon an organ-point, and the upper part moves in syncopations (by means of the bind) the Discords so produced are not faulty but correct, and moreover of great beauty. The cadences may be made in three ways : A, when the Counterpoint lies above, B, when in the middle, C, when below,; viz : A. B. C. rr t Chorale. Chorale. =*=: 3 m nf=^ g gEgjagj^ ^a » Chorale. or: 100 SECTION II. Counter- f r~ ^ point. gj — — K Canto , fermo. \ Fiiling- up. gfr ^ fF^^^r^t^N I 7 W^F 7 C 7 G 7 fi " 3 5 7 G BBi 3C & i^gg ^=P fe=£ *E 35 3G 43 98 4 # :- ■ 102 Filling- up. Canto fermo. < Counter- point. ^=^ SECTION II. 6 4 5 2 3 8 5 8 5 23 2363 2 3 6 3 l - r - ^-^^ ^-J-Z4 ^i-C'-^ C 3 8 * 5 6 H: =fc=t S 3 % 3^1 H=£ At g psi^e ** *=t Canto ferfioo. Counter- point. Filling- up. o •9 V s : — I , & 1 U 1 'o 8 8 3 3 8 3 M 9. ( I -> 4 & ■ — I I - (■ | i ** 1 I S S 6 9858 765 1 T 9 /5 - >-» J fi 1 rj I J- 1 zai )*&=££=£ f^p=3m-- « ?^t £ S 8 6 5 C 3 5 * # e ez ^ is: THEORY OF COMPOSITION. 105 The same Chorale varied by means of different counterpoint and diffe- rent bass : Canto fermo. Counter- point. ^ Filling- up. -2— ^-"i g> a. j — - h- -*- -2- 8 3 (V S 3 -^ 5 3 | fH ■4- -2- -4— ^ i o 3 9 8 4 1 — s^— 3 S -(S>~ 8 4 3 3 -t- s ISC *<. ^=^^ £* m g * 3 G 5 _S2 4 #3 5 8 4 #3 '.! =M= NINTH CHAPTER. Of tbe fifth species of three-part simple Counterpoint. The ripieno part (the filjing^up) here, as in the foregoing instances, is to contain the intervals of accompaniment which belong naturally to each chord. The counterpoint should form as pleasing and easy-flowing a melody as possible. Such distant intervals as are termed diminished or extrertie are, as usual , strictly forbidden. The cadences may be formed after the model of those in the second species, or, if the ligatura be used, of those in the fourth. 104 SECTION II. Canto fermo. Filling- up. Counter- point. s y -&- 2 3 4 3 4 6 7 B 7 mm **- ^z 7^-~- 5 6 7 8 -£> 10 4 5 4 — 6 7 8 3 3 4 aiE fe^i^a ^a^^ ^^r^ NB. m* 234543 3 83 67GS 363 2 3 m -^h ', 7 » 1 ti ft 3 S 3 A 3 i 585 4 5 gP^g tt=t te££S : 2 1— -'jt At this NB. there is indeed a faulty kind of close, or resting -r point, called a incision; viz: the minim D, in Arsi; but the fault is in some degree remedied by the bind which carries it on to the next bar. Counter- point. Canto / fermo. i Fflling- up. ~ U - nnrfrfm if^ S#*P 8 4 32 h 9 « 7 S J I 2 3 3109 8 » 8 55: «= gfeE 221 ^^P^frffg^Eggg i^C li 7 6 S 3 H t|7 3 li:E P* 3C 3C THEORY OF COMPOSITION. 105 Filling- up. Counter , point. < Canto fermo. • u ■» & - •» *■ a — IP ' ~& : ~~ r ~ ye*=^-=k — i — =i ^ — i — ^ i^SEE^^E^E^ f^g^ a. -ZL 7 $ 5 f> S 4 3 13. G 5 76543 S 80 afe *= M= #£=r=gEgi^ S=g! :t=t- *& It) 8 9 10 3 S 8 6 73 6 7876 56 £«= m s: Counter- point. Filling- Canto fermo. ttPE ^ss SIS^^E £ 8 6 o 3 4 6 7 8 5 6 7 8 pHh ~ ,1 giL 3 a & 3 iSZ. =22= -«>-=- ^3gp =M= 6 5 3 ,5? — 8 7 6 7 fl ■; ES- Many theorists are of opinion that every piece in a minor mode ought properly to conclude in the same; nego! (I deny this) On the contrary I think that the major Third, taken as the close, has a much finer effect, and is very soothing to the ea'r and mind; joy comes after grief, sunshine after 106 SECTION II. storm. The close with the major Third gives me the same tranquillizing feelings as when I gaze upon the soft light of the evening-star. *) Filling- " = — ~ CL up. Canto fermo. Counter- point. S687 5 4 3 2 3 4 3 123345 H-— — 1 "-???-; . g ., ~g— 1 ' g pg— ri,.,.| - 8 3 3 — — 5 3 /-9 3 3 — g— 5 — g 1 3 -ST - 5 ;g- 8 < 5 H-^ — • 5 8 3 - s ,. 8 5 3 -g— 8 a 6 1— f 3 ■ g 3 5 -VS* 1 "75 3 S 3 8 5 8 5 ^H-yfe "S? - ' -g— i__ H V' tp-g- g g ' -<5^- <3 g -t3-H <* 1 _ /■? — i i— « r3 K 3 i— — i i i -iH T ■ * I V' '? 1 rt 'J 3 S 8-3 5 8 5 3 8# 8 (5 — g — tf? _g -g— -i— i — pi-ff7- ffl - _ — i_ . < 8335333535 8 1+ . ■« /V /»? |V lp- g r!i & - "P i—--*, . 5 3 5 1 3 5 3 ~ 8 5 8 s S3 )' tr r- S3 -/ \\i ° — £Z ~ g : — g — - — «■ — - M I^Jf ■ — g — -;g— -F— H— - 3833 53S38# 8 lLLA ,l, , i P JF — p/9" ! ^- i^-i n ll I], & *■■ - < 1 1 < 3 5 85 [; S3 8 5 8, 5 1 L. " It " ' r-j gi 1 ^ _g_ ■ /3 f— i i 3 5 3 8 3 ' 8 » 3 5 1— J i 5M£-g- -g ■JT— ■ g' -75 — -g ■**-- . ""g . \f& _ *-«_- _g- - ra~ THEORY OF COMPOSITION. 109 Cantus firmus. Cantus firmus. Cantus — 1 fljsq _^_ Tte~ rti" T— «> riK- rHTi i ir ^ ■ iV /^ <•& J® iT* l / . • . 1 - o \1 L ^ 1 3 Y1 iff 8 'V9-, b 3 r-7 - 8 15 i-g- 1 a? 8 :J£d£ -?=r— <=— — 1— 1 — ^■" — f "-^ —OT-&— — H— 1— - 5 8 6 6 j 3 3 8 ■5 8 5 •* 9 J <£ — ! S> — 33 ^ -*— *— - --J /=_ 'V ' "„ *3 -""&- »s ■ ■■ -ff=3-- 3 3 3 3 8 5 5 6 3 5 # ^^ — » — t— 1— - =^--f — a — •o _.. „, fO - >5 _ a — g) — — 1— 1 j ^ & ■/p- ' I & i * — n It- 1 1 ff ■ » «. ^ JM .. •* A & \ S3 , 3 8 3 8 3 8 3 3 8 5 jf S> r4 er*i 1— 1 j 4 „ rj ~ 1 6 3 » G 3 3 t 5 8 53' 8 : -3— 2-/3 — — - rs —CL-^— ° ft — 1— 1— - -S> — &~ Tsr-r, f*> ■ — H— 1 — l b 3 S3 16 a 6 3 8 S *-»-, — S> — *». a> — — h— 1— - 3^-f- <= — — 1— 1 — - J 110 Cantus firmus. nsc SECTION II. -«?—*- 85 38 56 S3 38 IS -tS>- ft ft ^s- 3C IZC zz: IK 8 3 8 5 8 5 -2— g- ■zc^. rar -Ea-i 8 S 3 3 Si -^-s>- -s? — i "■ ■ I 8 5 ' 3 6 6 6 8 S 8 3 # JJ-3—2- ._ fi>— — « — H-H— ■- 41-**— f- -»— &— — Si — « ■■& — H— 1— - i *s 3 8 5 3 3 3 3 G 3 3 5 t-i: 2 - *!> _^ — — 4^-f- -« l -TW— — — r— 1— - i ft " &" C ELEVENTH CHAPTER. Second species of four-part, strict, simple Counterpoint; in which all the rules applied to the foregoing species ( contrapunto a tre) remain in full force. Cantus firmus. UX?r 7r -&r *=t -Filling- up. Counter- point; Funda- mental- ^ part. 3fE 'U $= ±=*& f#ffS 5 6 8 5 2 3 1 5 3 5 G §3t£ :a- 28= 3Z: =W3 1 Sa S^I HHl THEORY OF COMPOSITION. HI In this species it is also permissible to write a semibreve instead, of two ims in the last bar ,but one , in order to enlarge the cadence with the ;e of the Chorale. Some of the best masters were also fond of making the close (in minor les) without the Third, either major or minor; the dreary, colourless h produces an undecided and gloomy effect similar to that of the plagal ence : leaving something to be desired : and desire is sometimes better l fruition. nter- int. nto no. ling- ip. nda- part. .tpz^fa dfrif Ol ^rn ffl fr i r?f^ * S 3 B 8 5 «E * S 22Z z^zz zazz ~?g ~ raz S3 38 5 8 ^ # ling- ip- 6 38 5 6 86 10 S7~zs—~^— rg=rgr fc ' a I < i 8 6 # into •mo. BBS 3 4 S3 8 7 S3 , , Kg , ... , lg nter- i»t. ing- P- nter- int. 53 56 3 6 10 S 8 3 « 5 — 8 fr-ti - rrra m ^ .■ — 5E 5n9- IZZ22Z »3 :?=j2Z ££ ^ s ^m m •*8 4— (^ prarai 3 32 5 6 83 So 85 8 mg- 5. 3£ Si 2az S :ito ao. §3£ 3t ZSC Z3!Z ZffiZ H2 SECTION II. Counter- point. Canto fermo. Filling- up. Founda- tionpart. ,~> -f 2 — n-^ — 1 A g g=d- — — gg-g- 1-^-1— S=P&- ~^?7?i JI3-J L^— J 8 5 6 rtr*-2 = — I[lL_!_LJ 3 S 8 7 -* S 1 - 3 68 7 1 T "" J 3 8 8 !1 "75— S 1 — | — E 1 5 8 » 8 -8 3 -3-2— »— ^ — 5 3 & 3 S 3 /5 i~ 3 5 -esh- 8 3 1 3 5 3 5 3 6 8 1 3 c*v «j ^ IV ^-T - ffl — ar — ^—&—- ■n — "Jr 73 " a h=uM ht- g « » ■ | -,s>- e» -s— 5 8 pS> (S> 1 s 3 5 3 a 5 r^-#- — | r^-T, :lMh- — } 5 8 3 3 3 5 of? z> 8 3 8 -E3-- U — 9- U 3 5 c ^~& 1 [ 3-65 -U-Ll— 3 5 8 i. 3 1 8 6 4-1— !— 1 — 3 4 8 7 3 ^:-* "" -<£> — = — V^ < * _____ rj -._? 1 1— — 1 U_3.11 __. 3543 — tt — °- ' i 3 6 3 4 6 7 6 6 3 2 13 3-43 O 1, — 1 8 1 h— 1 r j-yffl fa fa fj -~ 1— — 1 |*5 . 6 8 7 6 8 A 8 Z 3 4 3 3 8 7 6 8 6 8 7 S 3 fc: :SE 6S76 5 8 5 6 8 D 8 10 5 + 35 687G B ^ 1 j jiiug?ffffFf#a Counter- point. . Filling- up. Canto fermo. Founda- tion- part. &&Efig^^^8$^^ 876 3 5 S C 7 3 3 S' 8 S 8 3 5 3683 6 3 6 fcj 6 £R= E%E Bft ISC i^^^fe3fFf£^Pp :& Si 3 2 3 5 4346 813. 8 _ 2 1 #12$ .-* ~1 — ,g- ~I , _q~: ^ .. .zq ~^v ! 3C J2 =zc --Si- 116 SECTION II. Canto fermo. Filling- up. Counter- point. m sW ZZL. S: 21 313 6780 8 782 3863 "3 23* 3 4 3 3 api^iasgfg^ m=£5& «- ' .3,* m m 313*. G768 3 4 5 G 3 4 3 2 8 D 8 m^^^^^^^^m I would beg , parenthetically , to observe that I have had the temerity . £. ■ to introduce a Dissonant interval here and there , sometimes leaving it ab- ruptly, sometimes striking it without preparation: I hope this is no high- treason, ana that the judices doetissiini, if I ever»meet them in the elysian fields , will not shake their perhvigs at me. I did this to preserve the vocal melody intact/ and will be responsible for it before any tribunal of common seuse, and (good taste. Passages that are easy to sing , and are not far - fetclred; or difficult to hit, cannot be faulty. These severe laws were only imposediSpon us to hinder us from writing what the human voice cannot execute ; he who takes care not to do this need not fear to shake off such fetters , or at least to make them less galling ; too great caution is much the THEORY OF COMPOSITION. 117 same as timidity ! — Satis pro peccatis : here is a long defence of a slight misdemeanour. *) Counter- point. Canto fermo. Filling- up. Funda- mental- part. 9 if m m Pfes: i — rte ~*^ "f — V\>i l5~l i * i \ ' r a "i i» "i i» a i» r i a r "f ,* » of ■W- 1 — * n h- - U -J P W- i » i gi - i \U%— L 1 1— 8 5 8 5 M ■ — 1 — t — h- e b T 5 S p G 5 1 2 34 G 3 5 b* 3 * 3 fc|* rH a 2 ' — » & -**• 75" ^ ■3-f— a < 8 3 3 5 3 8 3-2r — w - 1 ^ 3 8 b 3 3 ^^"*— — — Kl |- ® y + * - .«<_ — gjg^g^ps^^^^i i 3 4- 5 4 G 3 S (?j 3 fc] + & 6 5 I , ''- # &: IE*E Filling- up. Counter- point. Filling- up. Canto fermo. BIBgggl^lllg & 2=2C zc I — r- — 1*-|— *-| — *—*-?-*' t±t * ^ ^ 2 1 3 3 6 - )?B 3S3234S()6 3 1 » {7 2 3 1 3 6j * -ffl . 1 ra^ b» Bid? ^=4 =. 2_ -|g^-— *) This was written about 50 years ago : now-a-days we should think it super- fluous to excuse ourselves for deviating from such arbitrary rules ; and yet there are many composers weak enough to write with the fear of some „Daniel come to udgment" perpetually before their eyes I Beethoven was not one of these. P. 118 SECTION II. EiE -s- l^fe^ wm* K 3 , I 1 S " 8 5 6 8GT8S2 13 # £E^ ifcBC 32= ^=^ 3C -®- 3C Filling- up. Canto fermo. Counter- point.. Funda- mental- part. ffiE ISC g=g-ff^3#^-^T^p^ 3 B 6 8 1?_7 1236534 I 3 p4 3 8 7 5 |j fi Bi-2- 3C -m ?^'C 3 ^p tffcLBS ^te^ ^ 3 M 3 * 8 G 7 S 3 - * S #9 I ? #3 r^— 1 /"9 i-S> 1 ' /5" pS> r-(S> 1 tS> — -I r*~i r-« — i ■^5 r* — i ■ /■0- 8 5 3 * ■=? T-® 1 r-S> — n r^ — i <•* p=! 1 f» J »■ 5 3 8 zc Nevertheless this rule is often fallacious ; it cannot be observed ' when the bound Seventh is connected with the Fifth , because the resolution of the ligatura would produce a forbidden Discord. The filling-up part must accordingly be divided into two halves (the semibreve into two minims) as for instance ; instead of: < & n i 1 4 1 1 8 i « /a w \" 5 3 A S> o 3 S ■ V )• S n better in this way; to avoid the illegal Six- < five chord in Arsi: n 1 1 * 8 7 8 o 1 II™ 5 3 3 ""T ~ & « >> «4— -H— i 5 8 5 rv 1 ■ I. 1 S IV *t 1 1 The interpolated note in the middle part is not taken into consideration, as it is merely a substitute for an imperfect Concord; for which reason this progression is to be regarded in the same light as the progression from a perfect Concord to an imperfect, in motu. recto. THEORY OF COMPOSITION. 121 Counter-/' point. Canto fermo. Filling- up. Founda- tionpart. IS^£ -&-*£>■ ■&k t=& £ e&#$p?m H=t 5 8 8 43 98 3 3 85 38 43 JOl. * # ^fc zso 3*E m& ~3ZTT r e :sc is: 7S? .1 g -S- Filling- up. Counter- point. Canto fermo. ®E Stfei ^ NB. NB. _ ■«>■ ^E^3% :sr -fi2— -^. ^=T=a £ t fS-^^F^- it tt -^ it 3 6 3 8 5 6 ffl^^ffitf S 3 676 7J7S j? 5 65 36 76 76 7 ff 8 w IST -5E. In this example (-at NB. ) occur two pure Fifths : |J' \ ' because this interval is indispensably necessary to the perfect chord and to the complete harmony of the same. Canto fermo. Counter- point. Filling- up. Founda- tionpart. » 2C 3C 3 5 3 j . 3 6 3 5 3E=^ro gp , 3fc ^ 5 S 8 4-3 93 35 5 4 9 8.,* # '"' ',1 8 iL i ^g M^ g ^B i 3 S 8 5 IS 122 SECTION II. Filling- up. Canto fermo. Filling- up. Counter- point. NB. NB. m^w :a: 3C 5 8 3 3 5646 4 5 86 56 45 5 6 s ^sn ^sz 36 56 56 23 23 53 23 23 2 # 3E IS2I 2 3 2 3 4 5 5 G 2 3 §3 rt ffFfrp^^g^^^ At Hie first NB. the Second is doubled, and the Sixth, which would be required to complete the harmony of Six-four-two , is wanting. The second NB. points out the Fourth doubled where, according to rule , the Second ought rather to be doubled. All depends upon the complete harmony, which here consisting of the Third , Fifth , and Octave — whereas , in the above instance the Fifth is doubled instead of the Octave — it is clear that the intervals belonging to this chord are not complete. One must not be too particular about such trifling imperfections in this strict style of counterpoint; much profit may be derived from these exercises, which will teach the pupil the various methods of combination , and shew him the limits to which he is confined ; at the same time he will learn where to depart from the strict rule with advantage, and where such license is not only allowed but imperatively necessary. Filling- up. Counter- point. Filling- up. Canto fermo. p^Ff-^gg^yf^-^ -2-«- #=rzS JIIEEEEz* 856 7 fi 3 G 763 a — S 6 4 3 4 # m. Z3C ~E1 3c C3ZI Filling- up. Canto fermo. Counter- point. Founda- tionpart. THEORY OF COMPOSITION. _4? 123 fe as 8 3 — &~ # 8 zc 83 6 3 S3 33 j^^pg^^gfYffi^jpj 39 8 4 3 4 3 5 8 58C8 7638 4 # =z£ ■ g a 2C 221 ZOO. Counter- f point. Canto fermo. (Nova Cadenza.) R 1 3 JB. i \> \,7 G 5 6 3 3 _fi2 _^ W= Filling up. Founda- tionpart. m~ 3 5 3 3 ^t: a: Canto fermo. 3Q 1 Counter- point. Filling- up. ££« i^££gy^g^^^^ ^^ t=t 835 / 6 5 6 a a . 5 8 4% 8 ^- 2 c g - Founda- tionpart. P4=^=^= Z2EI I 124 SECTION II. FOURTEENTH CHAPTER. Fifth species of four -part, strict, simple Counterpoint. In this , as in the preceding species, it is sometimes allowable to divide the semibreve in the fllling-up part into two minims, where necessity le- quires it. Canto fermo. » zsz 131 Counter- point.' Fflling- up. m t^4iU^fc^£ E8£P \.w m ^PBfe £ 366 858 43 5 4 5 3C FoUnda- tionpart. §±S ---^ Iieeee-eSe^ & ?cCT=g^=g=t 6 5 8 4 3 9 5 4 * ''IT' 3 -ESh m ZJEZ THEORY OF COMPOSITION. 125 Counter- f point. Canto fermo. Filling- up. Founda- tionpart. i ^^^^i^E^ ^ i^g^ S -366 85 4-3 & B 8 S B FifF^ 3tE &E5 a: :ar ST. ■* T* r= l—l • f 1 [ 1 'P* f— 3 1 | m | '1 ■It. 1 ..L 1 1 1 U-3-* e & 6 4 3 1 9 S 8 4- # 8 i l -~ » — » — >— H ■f3 — 1— 1 < 3 S 3 S 8 ■+ " C t— I 3 a j S S !• & V /•S 1 1 rs Filling- up. Counter- point. Canto fermo. S* « ISC f7— -~)g g' Bfcfa =M=5EfeES% 3 g re §3j£ 10 7 C 1ST 126 SECTION II. 3E m s>- £ -(2- Q-rrriznrM mm 13 6 765G 76 IB 8 >. g ISC ISC Filling- up.* Canto fermo. fsSE^ < Filling- up. Counter- point. ^E^ 3£ mm 2 3 3 4 "0 4 S 8 1 -&- 2 3 1 Jt" 3 ^^^ ^^j^ ^ee^ 4 5 5 6 2 3 2 3 SiE ^s£ 7 6 5 3-8 fl- it fiEjE^E^grfc fefc (Frohberger, an antient composer, is said to have written short pieces of sacred music in which no Fourth occurred in the parts, not e\en that one , THEORY OF COMPOSITION. 127 which is the second tone (as taken from above) in the perfect chord; his object being to represent in this way, by means of the purest Tricinium, the holy Trinity. This singular mode of writing is called harmonia sine quarta consonante. — Albrechtsberger related this anecdote to me the other day.) Counter- point. Canto fermo. Filling- up. Founda- tionpart. 2 _ ■&-^- * m =p 4= D iO 1 3 4 6 7 ^E=i « ^ ^£=S =E 1 5 6 7 8 J ■D ' " P i r 9 p i r w t ' r 1 1 ^ 1 — 1- " \\ ' 8 1 3 4 a g 3 1 3 6 8 r 6 # ° /-J h—l ■A . i-« 1— 1 «J 1 S 8 3 8 4 «>— S> 1 O. ^1 — h— 1 - — 1— — 1 5 3 5 8 5 R^— s> — fS — h— 1 _J±_: : — 1— 1 Filling- up. Counter- point. Filling- up. Canto fermo. 'J " --7 <* • 1 ^ 1 rj rt A 1 j S 3 3 5 G 8 tw-2~ t-p-f— F— f-»- -I«=h- -T-l — L »-■ -f? „. r*-i — r3— f — *-F — ' 1 — f— ~| P— 1 «— | ■ f > ,*T^g- 1 i „| . S3 7 6 S 3 4 5 6 8—3 4 3 4 3 2 3 ,1 & ~ 1 S3 — » 1 « «i~§- |S2_(2J l=t Ej E E EggEBgE^g ^^~ 8 7 3 I2C 9 10 4 1 4=1- ..:■■ ■'■ ■•* *=t *t EE^E^t 321 4 3 I 3 5 G > 3 4 Pe 3C 3C tt THEORY OF COMPOSITION. 129 Filling- up. Canto fermo. Counter- point. m ¥^ fe-f: m %—&- ftra ^m J=3=+3 ^g^^^E^E^ ^ES I Z3E1 & < I 4-5313 3 4 3—. -r*— 0- *—0- E@^ -#— p- -p-0- t=!=± Jtt As we have-now finished our synopsis of the five different species, we must proceed to combine them, viz: to keep the plain chant, and to write in one part two minims to the bar, in another 4 crotchets , and in another bound notes ; by this means the composition will be varied in a remarkable manner, e. g. & ^F$\ * j=jj ife t=t b&z X- 3= * tt i ^^w^ Bi^ ^fea Conitw firmus. m i 13 Beethoven, Studies. 130 SECTION II. FIFTEENTH CHAPTER. Fourth species of four- part, strict, simple Counterpoint. In this style Discords may be used , which must be resolved according to rule , but the resolution of which need not be immediate , because one dissonant interval may be retarded, or held back, by another. The real as well as the minor Seventh may be struck freely upon the fourth major tone, and the diminished 7th upon the fourth and seventh major tone. The chro- matic or semitone method of progression is also permissible. IN TWO PARTS. FIRST SPECIES. ■» , ■ ■*"■ - — - ~> . ■& Counter- point. Canto fermo. m I2Z 1E£ ZBL ti b» » NB. < # .££ 2E m The fall of the diminished Seventh, atNB., viz: from i to gjj,/ is easy to sing and good , because the latter note , as leading tone to the Dominant, is correctly resolved by ascending to A above. Canto fermo. Counter- point. ( r^-r-g-^rg. --^--&~ pp=A- g j-M-fi 1 :3> y\> — 1 1 o ■&rtr S 3 3 S>—\ '&-■&-* 5 3 3 8 3 5 8 There is also no compulsion with respect to the cadences as made and provided by the legislators of the strict style : I mean to say that we are not forced to abide by them. SECOND SPECIES. Counter- point. Canto fermo. w^&fj^£^0^ %m s& * n« fEEg=£ THEORY OF COMPOSITION. 151 m & =t M- t =M- Sb— IE Canto fermo. Counter- point PEfc .nb. 35= 6 3 6 8 gpiE =g^^jg^gEp^g !3i 1*2.: a 8 6 5 irf =t - — 1=— =3 3: ^=^=^ =t 4=t The fall of the diminished Fifth (at NB.) viz : from f to bh is also per- mitted, because it is melodious and is properly resolved by the next note C. THffiD SPECIES. Counter- point. Canto fermo. iN r^ ^g^fefe s^pq ^ Wfc b 3 4 3678 a ■ a 4 tf 6 3 S [? S 3455 8 7^5 ^2 , o ■ - ^^ ^m^ m^^ j? 4 EJ'J jf 6 fc{5 4 3 U 3 6 tj 4 3678 |?436 3£= Canto / [7~ ~ i /2 fermo. | iffn-fr-fp Counter- point. 67 3435 353 4 « 8 7 b 3 :| Li fcj l^^^^3 ^^S^^^ ^ 132 SECTION II. 1 !|t S i 3 fcj4 5 6 3*32 3287 5-35 jgga 35 fEfi^^E E jE Ej 323=£H Counter- point. Canto fermo. FOURTH SPECIES. SEE": FEteE^^H^i 35^ 6 3 o * tj is It 16 8 5 lE^l=3E==^3E^^=^E=3=l =^ -e? — P- £ *=t * Jf SB 35 35 76 w Canto fermo. Counter- point. $£& 32= 105 43 104 5 6 45 3*3^E __J-_ < g—*- g- --si '— ^ - r> < g i 3 SE 6 3 12 8 3 2 3 fS -W- •^E£ -(S—&- l=±3=t FIFTH SPECIES. Counter- point. Canto fermo. 3& iglS -*-* 4=t S=P=:p: ^H a £0$= 05431 345 7365 345 fi 8fcf7 6 THEORY OF COMPOSITION. 153 ^smwm&^M 5434 78987 34b 3 4 5 G 7 6 5b 8 ^- ^ -, r a i r~& 1 r-l— 1 — n Tif^ -1— 1— - 1 tip Canto fermo. Counter- point. wfc 8 1 3 4 5 4 -6 t; 6 3 3 5.4336 3fc)4 £} * S 3&Ett =?E li Sfc =S «*£ ¥ V=t zst z&z. -B- =M= m 6 5^4 3 1Z34 89 10 54321 6765 feg^m^^gNggg -#-#-p IN THREE PARTS. FIRST SPECIES. Canto fermo. Counter point. < n^= Founda- tionpart. IS *=t 7 S 5 8 6 . M 2 6 BS 3Ei 5 S 10 m^m fc}4 8 4 10 6 3 1 :bs.|; ■«: ^S (In all these examples the counterpoint as well as. the chorale may be , transposed into any of the parts, which may be varied at pleasure, i. e. may be made to exchange positions.) 1S4 SECTION II. SECOND SPECIES. Filling- up. Counter-; point. * Canto fermo. SEE n e h= — e>- 3=t S 10 6 8 109 3 5 109 3 5 pj? -a 1 — s> 1 — i— -i — -F — — - — j— i — T IN 3 ~ — 6 7 - i — = — s* — 1 10 i— » — f 2 — i a 3 3' -~ i 1— u 1 \TTT~ f — f~ — «■ — 1 f - « f> ,1.1 — ...J> '... ._1_ . ■ I-. ' ' — — ! — - *- T - -^— 1 — : 109 3 5 810 63 56 ifefE -JSZL Canto fermo. SEES THIRD SPECIES. -0 •-*> Counter- point. < B^%^^S m \=t iot -ttt-fr 132 4 5 R 4 3234 6 2 9 G R fl 10 8 4134 Found a- tionpart. *m ft-*-, 9- m &SeS * H-W-*- ^g £» ^"#- 87 456S 5654 5 34S 10987 Filling- up. Canto fermo. < §H THEORY OF COMPOSITION. FOURTH SPECIES. 15S ISC 85 43 56 23 S 5 Counter- point. * ^ 37 65 34 SS 43 I Pafes 4= ^g^gd^g I 5 6 3 8 4 5 -jSC. 43 86 2» 53 23 PE P^lP^g^l^ Canto fermo. Filling- up. I Counter-^ point. a FIFTH SPECIES. is: rsz. 5676 8 9 10 3^5434 ^^^&^^^^^ ^ &fe^ i is: 3C J 4 5 4 2 3434 8765 7 57 feN^ ^p 35^ -•-S-l— (— ** M 136 SECTION II. -IN FOUR PARTS. FIRST SPECIES. Canto fermo. Filling up. Counter- point. tj;»l,fr ". <» [-«- -s>- ■ J*., 1 -<*- S? ' O i— (S 1 — =feU; 3|? I j - 8 3 G 4 6 3 3 I — r— 6 j 1 3 8 5 8 4W^»- -^J -^-T __^ ■ & ■rj B 8 3 2 3 653 s 6 3 8 ■ -&\> Tis—' - -S>— -— —e— ^_. j. M^-P-tf— &- 'r» — — r~ <3~*> -sg-f rt i 3 5 86 6 5 3 3 & 3 7 3 f V, rV = m «: -^~&- 7 G 5 IE 7 3 O is ^^ FIFTH SPECIES. Filling- up. Counter- point. Canto fermo. Founda- tionpart. IP* aEft^t #-»-#- =P=fn* ^-FF* £te ^ 58 5 4 5 3 5 35432 % 6 81 0*9 8 7 5 4-35 feE Si :ar zsz fts>- ZZT. «: fe ^|±j ^^^^ 109B 6 4 5 f. 6 7 8 ]S I2C -»- 4 5 4 3 2 3C ^=*= mz -H- 2d Spe- / cies. 4th Spe- cies. 3d Spe- cies. Canto fermo. THEORY OF COMPOSITION. MIXED OR COMPOSITE SPECIES 159 ^ ^^^& ^=£=^f=^ ^^ W$=?=ez (2 &- 8 5 9 8 '■&—&- ■\=t ?m a 6 7 6- 8 3 9 10 j^^^i^t Wz =t=t SpS 3 4 5 4 16 7 14 3 3 165 3585 #7 585 ~k— jg— jg- S E^ t=t 6 5 58 5 3 6 — ?=£ -^ &■' ■»■ -\ r -W- 30 g-^T-jg — rg T~^ t=^=t=:=t 910 53 78 63 g=t££gJg££te^S ■g— --eg - 3167 3857 35 8 5 3 [J3 * . Omnia ad tnajorem Dei gloriam I Patience, diligence/ perseverance, and a steady determination carry one to the goal. End of the treatise on simple Counterpoint. THIRD SECTION. ESSAY ON THE FUGUE. FIRST CHAPTER. Of Imitation. This branch of scientific composition ought properly to be called the preparatory school of the Fugue. The rules to be observed are very much less strict than those applied to the real fugue or canon. It is indeed only necessary to take a theme, or subject, in one or perhaps two of the parts, and to imitate it in another part , as may be most convenient. The distance of the intervals taken , by ascent or descent , as also the regularity of the progressions and the correct involution of the parts ,» need not be so care- fully considered ; it is -also permissible to combine with the leading subject: other analogous ideas. For these reasons Imitation is an artifice very avai-, lable in the_ florid style of composition ,. on account of its efficient aid in carrying out a subject in a workmanlike manner, and giving an air of unity to the whole piece by means of the similarity which one leading idea is made to bear to the other. Imitation is a sort of graceful counterfeit of the Fugue , and, if cleverly used , makes no bad substitute for it. *) A partial or periodic Imitation may be used upon any selection oi in- tervals , as will be seen by the following examples. FIRST, IN UNISON. 4 st subject. free. 3 *= it 1 st subject. free. fc£zf a^g ^^te fr 2d subject ■v 3 * SWI *) I need scarcely say (to the musician acquainted with Beethoven's works) that B. was evidently much fonder of Imitation than of the Fugue, which latter he 'seems to have disliked: at all events he never excelled in it, and but seldom attempted it. P. ESSAY ON THE FUGUE. 141 it ** 2d subject, free. t p ES ££*z 5? «S fc£= »es free. 3=^z SECONDLY, IN THE SECOND. 1 st subject. free. »-!* — f — ^ — i— ^ St 2d subject — . g 1 1st subject. free. subject. free. ffiftS^E^^^flr^g *d>- te free. m^f=r^^m 3d subject.'""! 13 t= PCH fe§£ s =t=t 55 f--»i B (in the Unison.) 3d subject, free. sp^ pg g ^f^* m THIRDLY, IN THE THIRD. 1st subject, free. 2d subject, free. ££ PI 2^— T =plsfc feE^&Sgg ^^t±^=^=b^f=l 1st subject, free. 2d subject, free. m&g$mmmm%^ m^m m FOURTHLY, IN THE FOURTH. 1st subject. 2d subject. Sifeg SM= v 1 st subject. free. 2d subject. -0*—p- mg 5 5£±ifc= Ete^gg^ 142 THIRD SECTION. free. -*-+ m s free. . ^^ ^ e£Q^£e£ ^ li 1 st subject FIFTHLY, IN THE FIFTH, free. 2d subject. 2 a . g s* ^I^H^^^B^g^ 1st subject. free. fete free. ^pfe=^ : ^=p c ff 2d subject. m free. ^fj^ i =iS- I 1 SIXTHLY, IN THE SIXTH. 1st subject. free. 35 3! f^M-M ^f f*--^ ^S Sffi 1st subject. 5§5 m #-»- ^ ±tf *-# (I 2d subject. free. pht^ms^M 5g* free. 2d subject. free. ^&M=*^m rm=t=r=? ESSAY ON THE FUGUE. 143 SEVENTHLY, IN THE SEVENTH. 1 st subject. free. I ■ 3 ^ _E £ £?E^ = g= S^ gj-j 1st subject. t HF^- ffl^ te 2d subject. ffep* feJl free. SeS V£-+-w-f 35t -•—(=- (=t=t *5t free. ££ ^ £-f-A 2d subject. ]SgpS i t=p m g=^-fH^pfe^i^ free.. g^F# ^c 3= & EIGHTHLY, IN THE OCTAVE. 1st subject. free. N 2d subject. ^^^^^^ s ji;- jj 1 st subject. free 2d subject. ^^J S^5 m^t 3d subject. free. ^^ W^- fe =f=p Sil 3d subject. free. £E*3 -*— ^E W$=*3^ *H«- * =t S W There are also some other kinds of Imitation (artifices, or rather toys of invention upon which our ancestors set great value, as if they were pieces of real Art)! viz: the inversion , strict and free, the retrograding, the in- version backwards, the augmented, the diminished, the interrupted, and 144 THIRD SECTION. the Imitation upon the false accent of the bar (in Arsi et Thesi). — My Mentor said to me, lately, that if I desired more particular information upon these knotty points , I had better apply to M. Marpurg : — I can't say that I have any .great curiosity ; I can easily imagine what such intricacies are, and will make use of them if I find a fitting opportunity. If, in a composi- tion of mine , the subject allows of inversion , well and good — if not , it is just as good without that capability ! IMITATIONS "A TRE, WITH A RUNNING ACCOMPANIMENT AS FREE OR INDEPENDENT PART. No. 1. Andante. ""■ . . _ g ^^g^ J P-P-P-. i# -t 0s ** © ! ^=* *£yS 1 st subject. m free. i te-^ £==t fc=1:=^^ free. -'H-\?-f — 3f: ffe^g^f 3iP3 1st subject. 1* m V* fe ^st m IH ^^ V-p ' ¥ i i i i 2d subject. i s ^ i»^-E>P mm free. & 2d subject. r-=* i%T- f? ?=5r t=^=%\ ww^ ^tfatjg^: 1— F- fe^ g ^ ^ at=t -' I 1 ESSAY ON THE FUGUE. 14S hfr r=F S %p==m^ m free. f ree. SBWSJ^Sj 1st subject (■—/■- 5 i^ is =3= fcffr 3d subjects tr J pg ^^ ^p&aisg 3d subject: g^g j ^^ ^ *==* fj fe^ff^fe ^E^ 4 st subject. =ft- :ir^Ok ©*S ±£ tfi£. jg^^^r ^^^^^ ^ fefe3=£=b^Eg .fe^i t= *=±< 1L te "!-«» S 2d subject. i^^w^iii 2d subject. Of » l^£=^ * ' ■' u »-^-*- i i ' Beethoven, Studies. 10 14H THIRD SECTION. i g^f^^^^^ Ifc=t p^ ^^m ^^? m0 fe *^ ^ 1st subject. I HH PP P £=2===t -^ 4 st subject. Pi *=^p*» t^^ t a *~ # s^^^^ft^^ ■r j Tt— — f- ###^- SB B 3d subject. i * ii§ si FS ^Md— i 2 fea SMtf 2d subject. g^^te^EEE^EEE^ ^^-f^j W— at pi #-*-#-3 - M-t- free. fe^zgEgE^EEEfc===ElEEgg=E I* free. ■*"•■ ■* m ^?=fr £ i EEE ? -N— # * a 4 st subject. "=3== ESSAY ON THE FUGUE. 147 ^^^^EiE^^^^fefei $^m *?sg3=g =H" 3=t ^fc lili^iis^^^iLii No. 2. Moderato. ^ \ st subject. ' H I free. II [~l fr?=fc i Sfe Si E=3= BS^^ *_£l#- t=t *-^-f- 1st subject. S3 W=±4 free. ^^^^pgg^i^^i^ ^isi^^pfs free. ^T3 9SeI ^ X— 3 *=*= =*=£ $ fe? |Sg^^ ^s^ oj .-...k;™* ^ ^E 2d subject. i es i^« £=£ £ ^*- — tp- 2d subject. iapg^iiigfega^^^ free. \ st subject. 10* THIRD SECTION. fefeEE ^"^ free. I te w^m free. " — " -. mm 3^SS=fe g*E fSggl S^g gEgE£g= j^ E^pp33§S^N^p^| S 1st subject. ^ ^=^M*=j J^ ai 4thsubj. <•-#> pFPFf^ ^y 3d subject. ee i^S 1st subject. : fe 55 ipHbii ,4 th subj. 3d subj. ^3- +-i w& 3 £ § g^a^ E B lite ft^-T=g^^# ^^ free. 4th subject. , B % t Jf' r f -^r =T H^ ^ fapp^p ESSAY ON THE FUGUE. ■0- 149 3d subject ^s^p^^ ^ 1st subject. m ^E^^Ei :fc 1=1 ** I ife fe^ te B^fe-^: 5^£ SI af 3d subject. ™ 1 * " ' -» free. P fg^ Tt I 3d subject *• a#- II "iiB free. 1st subject. i & 3 1 mm. & 'm"~~ -m*tP,-»-t£ ££§■ ££» ■fr^^fe s ^■P- 1st subject free. . m^z ^ 1st subject. [Si^=j ^P^fa^ lis=s^ I fefe ^^^^fe^a^ ^F* free. 2d subject. fc^=ri£ gg^-^Eji^S^j^g jSg ISO Dritler Abschnitt. ffm^ ^^^^ ^^f^ 2d subject. u te 3§3fP§ m^ ms^^m it$i^l 1 fg^^^^^j ifS 1 st subject. fSg ^ — #- -1- iSP^Sp! *HM 1st subject. *^ 3d subject. ^=a sk^-$- fe!=s !" *-» ; -I 3d subject. jfegjpfese free. #-*•£-* ttg^ EE^^EEgE^gffli 3 ^free. 4th subject. dfe j=?=iN^gEE p— B free. Hi fefe ^^^E ffi^E *$ | ^S=3 ffl^^^S free. M=3 r-^gp ^ s 5E ;•*&£ 4th subject. free. ig$ ±=m ^$i=pm? S* ESSAY ON THE FUGUE. 151 feBgl SSii =?E { ffes-ig H mp^P No. 3. Poco Allegretto. ife#^^^^^ ^^^§a 4 st subject. 2d subj. -$- - i g 1 st subject. ^^^^^^aa^w ^ =y^^ #* inp«s%is -#— »» n7 7T - g i#figH ^^ ^^ P^=^ j ^ffF «: P-ff-^^^-f-^ m t=t==t=!: ^=5^=^ 1 st subject.' fe&E^^fa ^^^ ^ £e£ P 1st subject. ^ ^=^=w t f^ ^^^^m g r^fT ##g ^^ 2d subj. IS2 THIRD SECTION. isi gfeS^EEg ^^^^m^^^r^ S3 t=t !«—--»- jN^NNg^^^a^^ ^k^mm^ m^m^ -alr- £S-f effe£ - -£- : - SHI ■* ' ■ ' — 4 st subject. =£=§ #■ X * HFgfrEE 6^^ =£5*=* 2d subject. tF?: jLJ a ^ fe^j P :±-zt 1st subject. ffl^E ■Fit- s=* £gSS||gp ESSAY ON THE FUGUE. 155 fj asgafefe ^. r -+& - r p- 3d subject. -&+- EpNUH^JiSi Ipai 4 i-flj^- *-*-»-?- H ££ I 3^5 _i -i — i r * — h*-«fa*-j-*— • — » - i ■=ss pp^^=^^3#=g=*^ S^-^r w^ p^p^^gg^j^^a ,^r L_j_4J E^feEBE3E^F |E=3E 1st subject. Hf 3=* p^g^gf^g 1 st subject. gffi #aa i& ^-»--H -¥- 1 st subject. 4th subject. g ^nsM i w^ M 1 st subject. Ijgjg ^g 3=*=# ±££ -gfe ^ ] m m J&g&EEEEZ e£ 154 THIRD SECTION. ggiS ^ i^ \ st subject. wm m s ^ ^ Sfe £ =3= i ^^j- s ^5q 4th subject. i 3^^ S3 a^ 3d subject. ^^ atf^^ ^^^B^a Sth subject. I S ^i^gfe^^gi ffe^il^gEiJdJ Sg ^ B* * m ^^m j=± s I ^ gpa^ g =^afg* sg Jb^^^Eg jig^EEEJ^g tr Sfc * Istsubiect. ESSAY ON THE FUGUE. iSS i £= ^=EE ^ 1st subject. 3d subject. I sg= n M- ff f jlg^gpi: pygiagEp 5th subject g;jhy— 1 ^=^f =t 4th subject. i fefe fefe, SSgpB s p^aa^i *^*i 3=— I — J — •- i$ I =i=t 3 :fc==r *EEJEg d^= S £ P=3=P=tp3=P=t^ ^ *— #- -F 3=2 mm piilil Pi^£ s -(©— i=^= a=^ a 156 THIRD SECTION. IMITATION A QUATTRO THROUGH ALL THE PARTS ALTERNATELY. No. 4. Quasi Larghetto. $3$m&^^§^j&£^ 1st subject. 3d subject. I !=£ -4=4^ & W. 1 st subject. S Wfc Z2- -^EE*E^EE1 2d subject. 2d subject. ^ pm^^ M B#-l«- ggjg gJ7=i= Efe ? 1st subject. * gs 3d subject. 5=Ef =£ £: ^^ =4= i §^ gj^=33 gggaga -P T^- i^q- g ^B£fts£ ®e 3= S^- a ESSAY ON THE FUGUE. 1S7 i £=PS=& eifeiE^gil -ft* fc^ 4th subject. =S S =*=£ 3d subject. £=£ £ee£ S -?-—*- 1 st subject. Stb subject. 5^^^^ S^fef gig ^ ^ 5th subject. I 3=^S HP S^SSl m 5 th subject. -i«-»- £EjgEEg£ IE 5th subject. m^^- * p 5th subject. fc3 =^ 3^f^ S^ 3^=£ llE^S ^^El^^^E IS Sp^ ^j= £ 158 THIRD SECTION. £. — ^^g&ks=pE$?g&m ^3=* subject. =t m SS f^g^dv,- l 1st subject. t HE E =f=*=^t= -*— *- is j?= be^£ -g—f- 6th subject. >>| =^f I SE^ 3eeIe=e£= ffi=^ &r W- I :Sfc ^ 1 st subject. W-*» 5th subject. m s =^ =::± =£ 4 st subject l^=S I -«— P3; pi^PI subject. 4 4: so^si^* fl£E£ 3=£ gfrfeggag 3=fc =1=1= 7lh subjeet. 8th subj. = I=F= ^ ESSAY ON THE FUGUE. 139 z6 *ife£te ^1 ^tm m 7 th subject. & P »i^^ 1 ^ 5 i|* 8thsubj. te 3EEE£ 1 st subject. li=^£ fesae^ ^=^^= ps^^ai gyg^ ^__ qt=j= j] fe=£=S5=^=£ ^^ 3 ? 1st subject. =^j— fe ^_t i~a ^ ^^ ft^ ia^S£ a S 7th subject. P B^fe^M lf ggli 7th subject. i ^ jfc^ 9th 9 th subject. §& ^=j|^EEBa3^p feglg* &iE ^^^^ ^m^ S^ & t= i=f ^ *-»■ i 4st subiect. 1st subject. g gg g g ^g g ^^gg= j. 1 st subject. 5r 160 THIRD SECTION. pte§ gp fe^==i P ggjgE silhiflfif. H^SB 9th subject fefeei Bsg w H= ^ ?5=? I =? £§1 ^aste-a i^fzz±zr± w-^r 4 st snfij. PPEEf^gE s * 533 1st subject. B^ =*= %mm m 9th subject. ^ lEE^Eg^EE£ ^^ -0 O- 9th subject. ESSAY ON THE FUGUE. 161 tM- *S -4==k i 4 st subject. a^rEJ^EEjE -4==t ?^p31# m=r=l=£ J^^E ^g^^^^^fe^^ ^ 3d subject. fe ^P^^pJ^i »B=J^=^F^j^^EEE^g §5 IS £ ♦ * ,#- ~~~. £ fe^ -f-*- i^£ 1st subject. 3d subject. " ■ ■■*— ' -* — I *— r~ig , ^7! — ^ ^ m^ E ^=^ Beethoven, Studies. H 162 p^m THIRD SECTION ffi^ ^S 5th subject. ^g ^ ife^t 3^g^^ ^ £ £?* 5th subject^ g^^^S^ 1st subject. ^ # T1 T j ± -■^ 3? 1st subject ^fc SS feg^ *:n£ =i=fc * * 1st subject. P^ feg= '^ ^ =l-i-f J- W ^ ^ : 4 st subject HE j=^=p==3 e £ P i s ^=^ 3=£ *=1=F 3t± JI ^. ^T- r 3*8 3d subject. m V=t *g£ w#- ite s 1S5*= E^S ESSAY ON THE FUGUE. 163 )e£eteeE £=e& ■$—<*- ,fe- ^& fcE zp==^ ^ kg^ g^^^^Bj^ =*=£ S =* ==*= i|^2 ^^eSpSlpSfel^I i 4 st subject. §=pp=afep^E=J r te ^4^E£E£g j t^?= ^ 1 st subject. S=£SeS3 Se 1 st subject. M l, ^-*^'^s#s*' £SHEE3E5iS ^^SggE^I 9th subject. pi —1=1= ^T; "•" A cf cnhinpf IE 1st subject. =C= ^ =1=1= H 164 THIRD SECTION. ^*^^ ^§33 m ^$=t =L 9thsubject. te ^~tr^j ^ ^=^y^ El^E # 1st subject. & g=t =ti=^ Eg B £* ^=^^^^^^^g 3*j SH^I = f 9-= i-i i i i-- — i 3^g^i H^^l §£fe K^ ■^ 0-0 p-p f-i-jg PS t== ^ m ^-s •^■^p yg^ =a^^=i| ^==j^ ^^ **- ii^§^s^ p£ *-p—f-p—f—f- 3=£ ^ fe£ ^ s =T- 3=3 ESSAY ON TH1 FUGUE. 163 :£ ££*£ =gg=e == ^E£feg ££fer£ ieI^eeIe ztzrt ete* ^Sffi £M4 SECOND CHAPTER. Of the two-part Fugue. The Fugue is a stricter species of Imitation. — When the first part (called Dux 6r leader) has expressed a musical thought, the second part (called Comes, or companion ) generally imitates or repeats it in the Fifth above or the Fourth below, and sometimes also in the lower or upper Octave; the Dux, or leading part, forms meanwhile an harmonic accompa- niment (to the Comes) which, if taken up without alteration by the Comes, is regarded as a second theme or subject, and the composition is then entitled a double Fugue. 'If, on the contrary, this accompanying phrase be altered, and not strictly adhered to , but only forms an independent part consisting of inter- vals in harmony with the Comes; — the piece is termed a simple Fugue. When the theme commences upon the Tonica (the key-note) and ends upon the Dominant (the 5th above) the answer, or companion to it, must be reversed in such a manner as to make it proceed from the 8th to the Tonica ; e. g. Theme. Answer. £ 93£ m i S 38= iz If the theme begins upon the Dominant and concludes upon the Tonica, the same regulation is to be observed with regard to the Comes, i. e. it is to be conducted from the key-note to the Sth. 166 Theme. THIRD SECTION. Answer. Sfe r^ If the first and last note of the Dux be either the Fifth ; Theme. Theme. 2rf ± §£ ^ IE or the key-note, ^ a similar change- is made in the answer ; viz : Answer. , Answer. eqrftfc £^g it e=£ (in the Fourth below, which, of course, is in unison with the Fifth above.) In order not to infringe the old rule bearing upon this point, viz: that the^Tonica shall pass into the Fifth and the 5th into the Tonica, it becomes absolutely necessary to alter one note*) in the answer, that the required interval may form the close. In this way a Third is frequently written instead of a Second ; e. g. Theme. Answer. gEg zggl ^EiEpS^^Eg^ z£r=a: or , vice versa , a Third is changed into a Second ; e. g. Theme. Answer. + ^ S^^ J ^P ^^^eS^e^ Two identical notes may also be substituted for the above intervals ; e. g. Theme + Answer. + ^^ ^m ^£$3^£m=t^m or a Third may be made a Fourth ; e. g. Theme. j- Answer. ^^ =T- m IZC ?c 8iEte 1= *) This shews the absurdity, or, to say the least, the imperfection of the rule. P. ESSAY ON THE FUGUE. 167 and vice versa ; e. g. Theme. Answer. + ^aEgEj^^a^^^feseEE^p Likewise a Fourth may be changed into a Fifth ; e. g. Theme. + Answer. + ^£E^3£$^f=%=f^ Or a Fifth into a Sixth ; . e. g. i Theme. + Answer. + ifeMfefe *^§ £Q »: Sf Or a Sixth into a Seventh ; e. g. Theme Answer. h^ ^-^^n r p^tru ^ - And vice versa; e. g. Theme. Answer. i^^^ife A» i^ g gg ^ _g^# Or a Seventh into an Octave ; e. g. Theme. i Answer. *ta %m and vice versa: Theme Answer. + gs£^Ffe£? ^5^ £ S =a=F^: i68 THIRD SECTION. The motivo or subject of a Fugue may, however, begin neither upon the Tonica nor the Dominant, but upon another interval lying between both ; in this case the Comes must be so arranged that it stands in just relation to the Dux, arid begins upon the 5th above or the 4th below. For instance, if a Theme in BJ? major commences with a Second , as follows: h-^^ sEg g^p gjE ^ ^pi§^ the answer must in like manner commence with the Second of the Domi- nant, e. g. £ etc. In a two part Fugue (Fuga a due voci) when both parts have discussed the theme, the composer has to write a few independent bars in the con- trapuntal style of the fifth species; — they must, however, bear affinity to the leading ideas and conclude with a cadence upon the Dominant. Now comes the first contraction of the subject ( restrictio j , i. e. one part moves on while the other (that which has for a time been otherwise employed) takes up the motivo again , the Comes having just preceded it : — thus the two parts are contracted, or drawn nearer together. After this another ca- dence is made, generally upon the Third above, called the Mediante (e. g. the note E in the triad of C, major) — Here a pause may be made, if we choose. Lastly comes the second and final contraction of the leading idea ; then again some half dozen independent bars — if we like it : forming a sort of patch ; then wind up with a ligatura upon the Second and a Seventh in the bass, and behold — the argument is finished! plaudite amid! (For my part I can't fancy such a two-legged skeleton; it seems to me a poor, meagre, unsatisfactory affair*). The great thing to be considered, when we are inventing a subject for a fugue , is whether it shew capabilities for contraction, augmentation, dimi- nution, division (into fractional parts) inversion, etc. ; of all which ornamen- tal artifices applicable to the fugu'e I shall speak more at length in the next chapter. (So now we must proceed to crack the hard nut ! it is a tiresome pas de deux , but it must be danced.) *) This depends a good deal upon the quality of the composition , which , if it be masterly , may render even a Iwo-part Fugue interesting. ' P. No. 1. ESSAY ON THE FUGUE. FUGUE El* BK 16!) S^^S^EgEgg MM k Dux. §&~- -C52-- -mr <&■ ^&m ?=t Comes. priE^se^eteffefg^^^ Cad«nce on the Dominant. Pfc=S*£ License. ■* .* * — T-»-^r £& First contraction. jgE^r ^£q^?- wSi_ Cadence on ^^^^S^g^^^^B ^ pk V=* 1ST- ^ g£ =s: the Mediante. s m Pjfefe iS^S Second contraction. w -Jg=±. 5£ ^ Close (free). S^^ s=g £ -- --si- First contraction. ^J^-^ fSs g^%r f ff^^ ^a ^^ gjr =?rf ^a^fe?fe is 3=± IE^ F=f ^^^ -"F^ S *£ * (Plagalcadenoe on the Mediante.) Second contraction. j^rl r 1 1 r-R ^^g gsg^g -»- r=p=N^ pf= ^3=s^^^ m^mesm?^ ESSAY ON THE FUGUE. 171 The last restrictio falls upon the half-bar, in Thesi el Arsi. The plagal cadence requires, according to antient custom, that the semikmium modi be not raised by a sharp : viz : it must be D and not Djf , over the bass-note F. FUGUE IN G. No. 3. Dux. gf5g£iE>p|£^E m 1 rt . ±=t £ f-0- zsc: Comes. 3te== -^=•=3-^ £=£ ^^gg^^g ^ig _(SJ_ ^ , ^'^-^«^^*-^>^'*-*• Cadence on the Dominant. IS -«-= — I* ?=S=^ Et^EB fb fefe^=i =£ i^^= ^^^^m ±T -*-»!- S First contraction. Sj^gJ^^ ip3 ^^^5^ g= ^^^^^ g SaJEEgSfeJE^^^rSf^^glg I ^gggg^Eagg [* 2C m Cadence on the Second contraction. Median te. It -«"- S #gf^ B 172 THIRD SECTION. --?££=£=¥ i j — ~ m -0—O-- -f—0- ■«■: * teE 3SC As will have been seen by the foregoing examples it is usual to vary the entrances of the parts when the restriction occurs ; e. g. the part which previously commenced with the Tonica is made to commence with the Do- minant , and vice versa. In minor keys the cadences are generally altered, the first of them resting upon the lesser Third above , the second upon the Fifth; for instance, in C minor, 1st upon Ej?, 21y upon. G. , — in A minor, 1st upon C, 2Iy upon E. (that is, I say again, if one chooses! for I see no obligation ; and as to the cadences, I won't be forced to make them, Unless Mike to take them!) THIRD CHAPTER. Of the three -part fugue; The principal ingredients whereof are : 1) The theme (Dux, leader, or subject). 2) The answer (Comes, the companion). 3) The repeat, (Repercussio) the peculiar manner in which the Dux and the Comes are made to re-enter, sometimes sooner, sometimes later. 4) The harmonic accompaniment, introduced during the repetition of the subject by another part ; if this be carried out , unchanged , throughout all the parts, it is to be considered as a counter-subject, and the piece is then a double fugue. 6) The intermediate harmony , . which serves to fill up the periods be- tween the re-entrances of the theme, partly while the fugue-motivo is going on, partly while it is silent. The less indispensable ingredients (inasmuch as it is rarely possible to bring them all to b'ear upon one fugue ) are the following : i) The augmentation, (augmentatio) e. g. when the subject which was at first written in crotchets is lengthened into minims. 2) The, diminution (diminutio) e. g. when the notation of the subject is altered in the contrary way, via: minims changed into crotchets, crotchets into quavers, etc. ESSAY ON THE FUGUE. 175 3) The cirrtaitaent (abbreviatio) e. g. when only a portion of the fugue- mQtivo is repeated in other keys , higher or lower. 4) The subdivision (syncope) e. g. when the re-entranoe of the theme occurs half a bar or a whole bar later than at the commencement of the fugue; and is carried on by means of the ligatura or bind (per ligaturam). If these devices can be made available , in such a manner that the character of the principal idea is adhered to, so much the greater is the merit of the composer. 5) The inversion ( inversio)' of which will be more fully treated further on ; it is the art of turning downwards a musical phrase , or figure , which originally ascended; or vice versa. 6) The Organ-point ; e. g. when the bass is sustained tasto solo , and the other paTts move on above it, imitating each other. (This is properly an artifice , and a very useful one , belonging to the four-part fugue.) Here (in the fuga a tre) the cadences in the middle are omitted, with exception of the one befpre the last restrictio , where a deceptive close (ca- denza per I'inganno) is very desirable. Particular attention shpuld be paid to the contractions themselves ; that one which brings on the repetition of the subject at two bars' distance is best introduced when half of the motivo has been played ; e. g. 1lT _ — _ — — . -?-*—? — r*—?*- -fl-f—p-^ P- U 1 —l^^—i- =J J— _! — |_i • 'p__ " _, -f^—f- r> r» 1 1 1 U a ■ V- \— ° & - j — 1_- F-£— J L.^tp^_ -GU e£ee£ ^ etc. =t h«— m- m ^ that one which draws the theme and answer nearer together ( only one bar intervening) is best introduced at the end ; e. g. £ qsrzztsr $=£ \ * S '* == p S£ etc. 1E= -P-ac 4=P 174 THIRD SECTION. Phrases such as these allow of being restricted to a single, bar, and moreover may be carried an octave higher, in Arsi et Thesi, and also per Syncopen; e. g. f A =± -U I ■zt. -±=A=^: m p=r=f 3=* fc- m rr-i m ^ 3ee=E ^j_J i i i jtU4 j— j- ■•—»!- rfl^ etc. S^g S S£ 4: this kind of artificial contraction may frequently be made use of, and in various situations. The most common and effective entrances of the subject are those which are made by the several parts following in their natural order ; e. g. Alto, Soprano, Bass, Tenor, Tenor, Alto, Tenor, Alto, Bass,' Tenor, Alto, Soprano, it being always understood that the Answer is given-, in regular alternation, to the Tonic and Dominant ; e. g. £ 3RE j^ftfs^Hfp E^pEEp ^ u The. harmonic accompaniment begins at the same moment with the entrance of the Comes ; the intermediate harmony begins where the harmo- nic accompt. ceases. . An antiquated rule makes it unlawful to go heyond the six nearest rela- tive keys , in a strictly-conducted fugue ; but I am decidedly of opinion that one need not scruple to infringe this rule — if a man have sharp ey«s , and can walk well, he may venture to go a little beyond the prescribed limits, without danger! Whenever a.repetition can be effected before the other part has quite finished the phrase, it is to be regarded as- a beauty in counterpoint. No. 1. ESSAY ON THE FUGUE. FUGUE IN D MINOR. 173 3JE= Companion. fef. ^ >' &0$E= Leader. gpSE^g s Ete£ m 4= -"P — »-■ 4=t Leader. i* ■»-#- «: Harmon : accomp. Inter : harmony in all the parts. fe^ * #= Harmon : accomp. \ — t— f- £ £ ^ t=t= 3E t* fe=^5 E ^ t=» . Repetition. Repetition. te^ £ NB.^ -&- fc +*e- Harmon :. accomp. ^ t=*r=t * Contraction. 3ES Repetition. Last contraction. 3C :ar Inter : har : * gziiszrnp z Repetition. _,_«. ^EE^ :-£ te^tfre in all the parts. J* Repetition. 3E -«4s! — Repetition. Harmon : accomp. 176' THIRD SECTION. — jqHfcqrfr* fffffr^— =Sfe a T^£r?1 fe- h=t:± ^ LL: El IZEl -4— -JL_=LM #r— c H#- -a ^ &±$ m z s: ia- £ At iVB. there occurs a repetition with the substitution of a minim for a semibreve ; this is not only permissible but much to be admired , because the entrance of the motiyo (which ought , in any case , to be preceded by a pause) is thereby rendered more striking- FUGUE IN BK No. 2. (EE& 9$= 1«E Leader. Companion. S^g^^^^ Har: acomp. ^^ip Leader. jg ^^im^m^==m m£mm Har: acomp. ?0>£=i2Z EE ^EEEjE^Sjgf^^^BS m f ^ifi^a^ ! r ^^^ Inter: harmony Pt- ^ ^^^Bpgrfga^^ w in all the parts. Con- S lac ^ s ^s= JVB. l E ! EE g E5 N Repe- ESSAY ON THE FUGUE. 177 NB. It is customary to place a rest before a re-entrance of the subject, that it may stand out in bolder relief; in this instance it was impossible to do so*). (Why not? Art and ingenuity can surmount all difficulties.) E^E££t^ x Repetition. ^=fe m SSfe. m- -traction. Repetition. BS gyr-l— |— trqsj: m *—•- f— »-* - -*— W— 4—f- j ■*=£■ ?-0- f=t -tition. Har: accomp. ^^m^m^m Inter : har : w& -0-F- £j£ fc pBr^^SQ Har: accom. in all the parts. M m jSlI T~$V~^~ ■1= |^f^ &fr- f= Z& FF=*r " r-G> — - — - ||-tl,l> \-t ^3= f^^T f$&- i— l- #n 1 i — O .JJ.|2.. ' • ...... ±=t±=t2q n m 1 u "H^ fit ^— - =ii a < g. Jfe* ^E^ F^^T^ it Last contraction. -&*- m i i— i— I— R— -T- PP Repet. S^ -»-!«- f-F-H«- « 1=E ^ Repetition. P *=ff£H£^gfJ^^ » £[ e- m^m ZE Repetition. No. 4. Allegro. FUGA A DUE VJOLINI E VIOLONCELLO. fiij^^£g|g^Bi|e |j fc: ££ 1^=^! Bs ^S: i^^^g^m^^ ^fefe n iapEJ^g^B=j ;g £££jg^ 180 THIRD SECTION. -V f^m^^m mm^m fe ^^44^=3E^^^ =i% :-.-.r im^nn^ fet i a^^ggp£ g^ 3=d==^= •— p* — * 35 ss ^-•^-•iF? Ife EftfES W=& k?^m£&mm±i P fe3lEi==3 3=g Be n — i- 1 -?- ss :^E^ -# #- ^| ^^- Hf=B ^feE^feff:-j^^ ¥=i^=fl ^£EEt£ -* — ?- ~ f f^^i=^ EE^ a pBEESg ^ & Pj^r tejg^= ^ ^^^^ p ESSAY ON THE FUGUE. 181 J§ PiaglS#£gS^ =EE^ P# pSf -$±5+*-*-* ^mmm m mm^^^m §^^=£=^^?^m •*■ te^a^ai^^^ ^ ^^^ I te=a ig^g s ■*— * - '". '«! ^fe flfc ^?^a|gffE £ = £a : g^^^ ^^ - y . 1 * =1=5 ggb^^ S=f=£ ^^^^g^-fe^ j §g=? E£pS ^E=t & 3^S ^^fefe^J^E^ **= 182 THIRD SECTION. [ $m±3f$^ ^m &m f ^m j^^g^jg^g^g^^^ ggg^- ! *-fC<^- -» — r ?-<-»-» ^ & r r ^ff? H ^^Bi ; fa^=fi= — fcpfe te life *~1 g^g#E fe gp = s ^Eg 44£jjL g ^S^= m •* &*. - -vagvisajcE ' .? £ j ms?;| I ♦ fc* ^ &=£ ^S j^^^atJ^^^ ^: e£ dsfe -* h_b fct gfa^^ ^= g 5=*— g. ESSAY ON THE FUGUE. 185 *=S**e£ WP tg^fi I I ¥ £=£f d £ ^s in ggg^^^^Pigg EfaESiSSffi* •^ fe ^ ^ j^gjfeigB ^sy=^ ^jj=p 5SB^ ss|Eg ^j*— ^#* s 3s£: H g|Eljg=fe C=£ ^m^rlfE^=£ * 3* i=f^=Si ^^SiEfeEEfe hssfsm i&B^EE=EiS^ i^yi^^^^ia^ 184 THIRD SECTION. ^ ^^m^ ^ ^m^^^ m £fe^3 eS &E&&3& £gS ^ee^+eEee$^^j=. ^Eafe^^^^^E^a^^ M £E£? Hi ^fefceS ^=£ &. §iii|i *^-j=t ^M *-#" -• s*~ m=£ £teNr3* -, ■ i t=t i #* ^gfcStgte^ gJE ^P ^ Bg^^j^^g^B ESSAY ON THE FUGUE. 185 feJigl ijrm IeS 5P fe ife pn gg3 ^ ^^^P^H H&- FOURTH CHAPTER. Of the four-part Fugue. Here the several responsive parts may enter in the following order : Sopraho, Bass, Tenor, Alto, Alto, Tenor, Bass, Soprano, Tenor, Alto, Soprano, Bass, Bass, Soprano, Alto, Tenor, meanwhile the relation between Leader and Companion, and likewise between Tonic and Dominant, remains as aforesaid; and vice versa, viz: i: m ZSL 22: !3Z Dux. Comes. Dua>. Gomes. Dom. Ton. Dom. Ton. In working out the fugue the following regulations are generally observed : 1) When the motivo has been taken up by all the parts, the web of the piece is spun out by means of the intermediate and accompanying har- monic periods, and a cadence is thefn made (at pleasure) either upon the key-note or its Fifth. 2) Without pausing at this close, the Dux or Comes may then re-enter, care being taken to^choose a part in which the subject has not lately appeared: the other parts follow in whatever order the composer likes, i. e. in keys which bear affinity to that of the piece, and without forcing the parts out of their natural sphere. 3) To this is annexed a concluding passage, ending in a ristretto, i. e. the subject is repeated in various tonal regions, one entrance being more quickly succeeded by another than at the beginning. The half-cadence which occurs here may also be lengthened by a/ermata.' If the original theme be capable of augmentation, inversion, diminution, curtailment and dissection — so much the better4 < — When the subject has been conducted in this artistic 186 THIRD SECTION. manner through various keys, first kindred, then extraneous — it is lime to introduce *■- 4) the final contraction, and this, if possible, over a stately organ-point, that it may be fairly said ,, finis coronat opus! " — The usefulness of. a rest before a repetition has been already explained. The result of all this 'is thV following skeleton of a fugue : a. Dux. b. Comes, c. Dux, d. Comes; together with their .accompanying harmonies, e. Intermediate harmony, f. Comes, g. Dux. h. Comes, i. Dux. Contraction, k. Inter: harmony and Imitations. 1. Dux. m. Comes, n. Dux. o. Comes, p. Inter: harmony, q. Final contraction or concentation. r. Organ-point, s. Ex- tended cadence. A happy selection of themes tends greatly "to the successful composition of fugues ; the following motwi have been sanctioned and approved by my preceptor : FDGARUM THEMATA AD SEMIRESTRICTIONEM ET RESTRICTIONEM APTA : No. 1. No. g. ] teg ?s=: (E t=±t ~te No. 3. E& &J=fg? No. 5. * No. 4. £ £ £= Plagal, or Phrygian. s Eg etc. 1 --B W—F- ^ No. 6. ^t — -. r-~-r No. 7. S No. 8. 9=£ W=& W f=. No. 9. ZB= & m te—^ No. iO. g^li^E^EE && tr ~*o No. U. Answer. g gq^f[3 aj^qgBtE[spte^ &* Authentic, ESSAY ON THE FUGUE. 187 tefe^^^g^Sz-q^zggiq^ No. 12. or plagal. No. 13. gj^Bpa ^ffe a No. 14 *3 Answer. rz? - ' T y* 1 — ■ + I . ^ ... 4 Lftl^TT*^- 1 -- I>- -■-' J -*- L— — LI No. 15. or plagal. No. 16. Eg^^^j^j 9^-^g^g| No. 17. No. 18. n^^ feEEpggg ^^E^^q^ pi No. 19. «si m No. 20. Jgfe^E No. 21. ffl_ jgf^qi^ No. 23. f^i No. 24. No. 25. g^i^g-G^fe 4=t i^ ££ S£ No. 26. m m ■&- No. 27. fo- \'° m P i "p=3= — - : M ■ * i g feiEE^ \^^m • — ?-\ — h- ta*r pEE^^gE^EEE frH "^ f lt P% g < ! 1 ZT-—&. ?= — i^= 3C S I ?= 3=3= Ilillili ESSAY ON THE FUGUE. 189 :iE =pt 3^ p^fe^^gg^ 13 — — -g- fl£ fo^=^g m w~r r r- i-r tEE3fe==&m $&*$tf£ ifc/j F3^g=SB^EgSgfc^=g -- gl 3=t ^ O-0-f' {L-+ p^ff i g r-g E3^ #-#- tt -igS -(»- 3t g ^f^ff^^yfpg -f=^— f* ■e>—e>- ri Hhr"*— t£=J£=Fff S &# --^ g i m- qz=3 m^&^m *E==rE&%E==m£=$g*& Spzrj: ESSAY ON THE FUGUE S=E (? . a. ^l t=t 191 &e=e^ee ^i^fe fe ^ . y EE^EES S^fe :t=P= Si^gEQ PE -iff*- S^^ U m FUGUE IN C. Wo. 2. p^U==iH^^^i^^^^ fc^E^ 3e?e 3E=E= £ i ^B^T^^^ lEfeg^^ g^JEg^ 192 THIRD SECTION. m &*= ±z g^Hg^g^gfe^^ £££ E^^f: -&-±- g£?£ -sta 3=£3 t* 2ZT. s^^^^m T ~fr r rr mSU£ ?=& f-*- 1 i i £ ~ i g' - g ^g *=* P^S^g^lfe^SgKi ^ SPfe £=£=E£=fepite** , *-<2 «& =tt is peaigs p-.» zfrtEt ^— 0- g^^ ^^^^ fafe -»-!■- ESSAY ON THE FUGUE. 195 =fe _ a- -<«- f-^ T-l-^ fa: ^ -f-rf-f -T^F t==* £*E±Ef fe^f^feg &F=^F^ ^igg £= ^Sfefe^g^^^fe# * £ * r£ f^-rflg-i ? , f gj *=t f==tt ^fa^ E F^EgE^^ d^^£ z: d te ^ ± irte -P — &- ** =E=t St =H |Efe -»-# Bs=a=3 H=t -S2_ 52 fi>- E^^EjE^^^jjE£^£g -£2-S^ t=t - J £=£ jEEpE^gg •si-- £ g^^ ^-r& TPP &ZLZ—-^Z as. £ £ Beethoven, Studies. 13 THIRD SECTION. £ |S- T _|£/ .&. & • 3=t -(S — - *=x m^^ ^w ^m ^b HgH^ffff^ f^Ff^E^^^^^^e « 3E jg I fg ^S^^ ^ ^g^fBi^^^E^g^ g ESSAY ON THE FUGUE 197 m =g|^S3=S gSE E^E=g§g^EftEg£^ 1 m m $&£ gJE£fr=£ m ^ n^ m ^ e ^=r^^=^^E^^^f^r=f .b*_ #nfe _^— lE=£ ■Mhh* — ns-- ^F^ st * • s- ji : ^= ig^=i==l^^^ ESSAY ON THE FDGUE. 199 ^^a^^^lpg^^ ^JEBBg^gE^ g gg^fe^ ga 5 I£ P 3>= H i=E -#-* ■•-f 2 - m^s Es^=sggjg^ f^iipg & sig fSW= -B3 £?= -g>- I i — r~ tg, s es i P£ ^ii=g=sis ^ HIH £ 3= m^ -*-»-*- ^ «_ # i. £±fc m^m gpj ^g^fa^ i^^i^g 200 THIRD SECTION. Wt¥ gEg= g to==fc &- ^mz^gm fe m ^ £^5^ SEJ B^ r -^— 1 fe =dE ^^^ p£frM»?j^^j i a S ffi F= «z:=Mz , f & £fc fc 9fi — I s - §££§pt -*-*■ -m—P- ^ i ^^ ^^ i=t P £ ^ =£ 3 S^P fe^fefee =*=fl^ *= ^=S £=pEE^ ^ i £M ESSAY ON THE FUGUE 201 £fiitf=t£ ^ i=gp^iiMp3i -*P* g^feE J PE S 1 fEjE ffl^fo ^ il&SS I^H^-^-bj iEE* ^££^2p^33^5£ :*■* ^ SpEiiSI S@ =2 S* i :£==fe» fete f fcfrh ^ iipp^ip^lp^p F^E feF IE afcf— ff £=f^^ ^^^ ^ ^^ 202 THIRD SECTION. jiJgg^B^gEe **-?— £ -^£h I tr~~ ^^feM^ |3E f^M^^gE-Jj is a * #-# rrtf^-£^- BPC -P-» *J* Pt=t=t f-#-=^- F+^h^ tt rf4 ~ LJ^J r-"b» feF* iS ^§3= -•-* «*= *: H^i* it 3£ gl^gg £S g=^^ P§ 353 tfaas— t£b -£> ^s t^=«, s^gj^ I =: fe E ^ =t=£ *fe :^f ^^ l*F S£ i ^ S^S e^SS Sa=fa==£S ^pg=feE=£= -i= f-.«- ESSAY ON THE FUGUE. 203 Bl^SgjEjgaBEji^^^^S g^E^j^E^^ m S^^^fe g ^=ffi^ g ss^f E& £e£ I ^gE£H_^^gjg -ft— P^S? ^=^=j^ ^^ =g S ES^sag^ ^ Jg gjjfE te: £4=^ £EE3£ 3E^^ gg^^^^ ^^ ^^^^ g 204 THIRD SECTION. p=1 f— ££^ p^ggEEEEt im^ipsi^iisi^ a^ &^m SEE FEjEa^ g^Bl P^ Mir +^H= 3 6 =P= e 7C=t H« •- s fci3§3&^ 3=PC -*- — r- =£ 3i^I ifeiLJj f ^r^n- j TiJM^t *? PT^ ±= fg fes ^S t=£ ^^^^^^Pfe l^ gg r= *= e ^pSP m> J f' : — p-H-^ jii =1=^ atE3EHfe =S£ L P 1^ ESSAY ON THE FUGUE. 20S g ^H^=f^ H5C =-^SS ^^|S^^3SSegg S3 pi i=E=aa£ a£E=t ifl P m ms^ £% 3E £ ^ s lillll ^^ g=5feg^E=jpj s mm w u pgga^ fee IP* J3t p^a^f^ i 3= Ete m s^ ^^^ ^5 S^iS ]IE Z pztzzqp g|^ =1= 3f ^3=£EJ*=JEES £^ ^ 206 THIRD SECTION. £^^^^^pp3^^^^B ^P eS ^ f=£ ^g=-^^ i ^^^^^fe^ E ^ 13^ !=iE S^^=i$^l ii^^^i^^E^: a==E= fcE3^ ^ — «- E^ -*— # ^ *— * 1" ^^£=E g= iE^EEg= ?=t =§S f feg^p^^ig^^^^ ^^^^^^fe ifc^: B ^f ^^ ^ga 1 ESSAY ON THE FUGUE. 207 ^^m^^M^M^ ii^^^p^g^ ^ s= m=i&*^g=&=E^^^£^ ^ ib=ar zaz zszz ifef ^^ fP^ i m £ fe*E^ =^=^ ^ ffi tit P=S3p 3==^ te t=t i^SSspa p r==E fe ll^HSI £=!=£=£: ^=& ^^^0 S=£ =£ 1 ^^^ffizQ: — i-j — i — -» 5 ^ 208 THIRD SECTION. fg^ *^^^g§a^i=lfe^ i^Pip SB*S*** 3=3= 9&B ^ fcO iffl f=e= 3 te ^pgg ^ f=FfP z a ag £ ^ ife s=t lis ffi E=£S :££g@ S #3 S !S*§-^ fe»^ t ^^ I *=& ^^ J 1 ^^£ i 3 t *» — ' — * — g= ^^ ^P^ fa , -j- ST- No. 5. Moderate*. ESSAY ON THE FUGUE. FUGA A QUATRO VOCI. 209 eee £=S*e£ te Do - na no -bis P=t f$£ ~=t i=5 Dona no -bis pa cem , no- §E eQe^3 E^ ^3^ ^ £S=e£ Dona nobis pa cem , no bis pa - cem, £= 8£Efc^p^ l ^£= 3 Do-na no -bis pa SEE^ qct g^^g ^^ pa cem , no bis pa a=t= -p-»- it bis pa - cem , dona f* f° - "^ =4=^= SE$ cem, pa - cem , p!=-tsE2& £=££ &E*=e£e ■3-1* ws cem, *=i=1fa dona no do - na no -bis £EfeEHE pa bis, do - na wm ^=S^hi- E£* ^ H^- gag nobis pa Beethoven , Studies. cem , pa a 210 THIRD SECTION. e$ ^P^ do-na no -bis pa - cem, pa- CSfe ^MB er c~T — e do - na nobis pa -cem, pa E5E •g ^^^^te = ^^ *£=p no - bis pa cem, pa cem, g^pgg^ cem, do - na ££ £=£ =R=:=W cem, do - na i=si ^ E Wfe |E*EE6^ cem, pa cem, pa- ^= ^ a do - na no-bis pa & €=E£ ^Mi^ no - bis pa cem, do na no - bis pa - cem, f-Uwgn»rar<^far4$ no - bis pa s ^^Mfe ^^gg^^ cem, do - na no - bis 3^^ do na no bis P ESSAY ON THE FUGUE. 211 fcfe^ -M m bis pa m §sc ^^ pa cem , ^■E&P^Ff do - na no - bis 3= ^ pa cem , pa m ^^mztm m mmfc-^ pa cem, pa cem, fc »=£=*= 6S pern, pa do - na fi=fe ^E^. m -JEIZ3. 0-FJfr-+ §E§ it pa cem, do - na no - bis pa cem, 3E£ #--^- asp m bis pa , ^ ^— ? 3= pa cem, |^=J p * * » fegiS ^S ;5h no -bis pa *— g-a-H ro cem, pa- gS^^jg ^ ffif SEE ^E^ bis pa cem, pa PSeE- cem , m sseee do - na no-bis 212 THIRD SECTION. m s^e cem, E#=EgjJ££Jgg 6?Efife^ ift pa cem,, pa pa -|**- 5 ^ =5* E^feEEl gg^6 do - na no - bis pa - cem, pa- ga^aa ^g pa cem , do HE£ ^^^^^^=f=S 3S s cem , pa cem, no - bis pa-cem, pa- i ¥=t £E ws. --t- bis pa cem , pa \m^ SE TO cem, do-na no bis pa -r^- do - na no - bis pa cem, pa - BgjE^jte±z rHI F =fr= ^ i=E iit t=3= no - bis pa cem, pa ^TfT-fa^T &SE& cem , pa -h — ^^ £ES cem , do-na =1 — r — pa cem , pa - cem, pa cem , pa m pa s^^e^^^ c fe^" 1 ^^ f* cem, pa cem, pa i i i bis £= £^S I3ZZ Org. pedale. 214 THIRD SECTION. £=£ ^ 3: cem, do - na no bis pa - cem ! E£E« * pa-cem, pa cem, do- na no - bis pa cem ! r-trr- =t=t cem, pa - cem, do-na no - bis pa cem I tt cem, do-na no - bis pa cem ! Nota bene : the effect of vocal fugues may be greatly enhanced and varied by giving some of the parts different words from those of the others, and only at the conclusion giving the same words to all the parts ; they should also be permitted to rest occasionally, to take breath. If one is writh- ing for stringed instruments this precaution is unnecessary; at the same time it is preferable to aliow one or another of the parts to be silent now and then, for if they are all continually engaged together., an effect is pro- duced like that of the singing at a Jewish Synagogue -all shouting at once, nobody knows why. FIFTH CHAPTER. Of tbe choral fugue. The feature which distinguishes this from the common simple fugue is the one part which alternately carries on the plain chant or choral melody, in dignified tones „long drawn out," and to which the other three parts (or four, in which case it is called fuga a cinque) furnish the fugue-theme and counterpoint. This species has something very stately and solemn about it, and is capable of great sublimity. The canto fermo may be distributed among the parts and transposed into any relative key which the Composer likes to adopt-only let him choose discreetly ! ESSAY ON THE FUGUE. 21S No. 1. , B im .- « &EteE* ' ^zt= — - SEJE j^g^^^^gl^^^^^ S^ igEg i^S jfe^gpg^^^^B -s> i»- *=t <=^r I rP^^j l^i^l -f-!»- atzf: =tt 3* e ^* * ffr^ gig feS^S ^^^g£^^ ^ ^^^ ^fir#gTp ^ ■■ =3z * Chorale. =az 216 THIRD SECTION. *-»- ^m^ eSe^ S3 ^=fc- m -&- j=t -|=L_— - te? E ^ ^ Pi 5p=4$* free. ^ E nsc Ep^ggg^gg 3 *==^= ^ 33^ -*-^-#~^- S^£e *^ pip J ^dMffeJS ^ Si S »+ :t=t* sftzgdj gte =£=t-t= £=£ff^=^£ W^S ie: -i"- S^f £?^ ■(a ESSAY ON THE FUGUE. 217 B =£££F S Si^g sc: -»-#- tt fejEE5Eg}EE£fe ^^3 Chorale. N^p^^fe ^sg-" — i ^sa^ &S§£ gigip JS frpzd^f: feS^S sfe j^= a^ff#H 3 i^Z free. -fe^fe -: ^ .-(S>- ft M ^-F^f]7*^~g Chorale. . £E= -s>- »■ •pi&r P 3ff*^ 3 32= ii 218 THIRD SECTION. Chorale. ffl gSpi 31 fe *^ ±dSS &m free. rp*p a B^p^ S£ 22T [is ^tF+^ m£g -g a- ■#-* ^ ^^^^^^a ^^^g Efe -|^ - — gfr .. 1 .-T--.-WI ■■— ■- B ^ i ^ j— free. ii^p^^s^^sfe^te s^^ e 9ferf£j ESSAY ON THE FUGUE 21!) fegEE fe^^^fea m^ ;. g — g- <► ■• ?^i^i fe t=?c fe£=f£=fe fFr^ TE t 3* * igi :ar jEE p^^^ g eSee^ £££ 5^? g ^^gEEg g^^F » ^ fc~^ir-^f ==&= ^ ^ E?E t=^= - feE£EEEE^^ E EE^ggEE^EE| 3r: ^ -i»«— -p — i ^ &i=£ Efefeg ^ -?c S t ^au_^iz ^ *-#- U20 THIRD SECTION. ^g^E^Sfpgg ?•=•= feg «--*-<•- 4=t £S£fiE5=££ Chorale. free. f^-f 8 - S^^gg £=£ 3C P ^ ^E -S> T-S—fS- B^&. ^pH^^Sfe ?!? vg- p lg-l -g-p l S^-J-p^g ^ t=£ ^s^^gia^^ :sc £* -Mq 3*1 No. 2. :SE^E^£gp^^^j|^= =S^g ME= -^ffgfepg 3EE= _ 1M _j fes iH ESSAY ON THE FUGUE. I* 1 221 Ea pgEESSEEBSSE^ Ei Eg=^g^^i| Ez^g r £ 3 g HE Siig B^^ 25T 3i=3E Chorale. zac £S£teE ^ ££=^3gEE?E3gE^ ]3t ^= &ffi -^ -i«-» #-»-i«- *££ g^HH ^^gfe^ ^ ,< g ;■ =K 4=t «= ^4^ ,fi_ v l£ ^^^ji3^ j wrf it sragg §3= ^ g - ^=rte 222 THIRD SECTION. fcfS ^-rJ Efazgg ^^E^^E gqi!— TTf ^lEEE^ P£ £F^ ^2 — r-eh—P- ,-»-P- • -m- ?^£§E3E^&t *=t -*-«>- £=*** ffi^S ^-T-l»-f- ^^^ T\T ^ F^}--^ ^ (^ !»" : F#^F £E BS= Chorale. §^ =f=^ d£ ^^rr? =§££ ^s — ysUg^. S^SS -r? " mL. Chorale m=*z W- :zj= m^EF^ ZBH 5? 'jE^^=^^^^ =fc mt ESSAY ON THE FUGUE. 225 p gT^ ^P ^ P^ JSL. zsz m i ^f^B r^ R mrr—^-n tegf#fe^^ p-» Chorale. 2- 'Jeiz E^^ te^g^gZTCTtfefe^ 5£ pfc S3 tpzc £££ .£3 S£ fe ££SiEE^±3233 F^ a^ff^^^i^fe g^ g ^QZ^-^ ^^g^a ^i IE -mm 34- — P- =w g Chorale. -9- 224 THIRD SECTION. =i?=F £e m ■•-+ 3C -&- Chorale. £ES f-P \ /3. -(=- £ ZC ©^ =tt Sffi -jg- h :t_f3£ t=5t =t=±t 3C e=t« m m ■3 srzr$ =C2=L- , 5p3 t=±=t ffi 3zr E* :ie b^^^^e^^ ^s 3C =P= =t- |S^ Chorale,. -fit- ZZZBT ■&=$■ m ]3E tr £ ^s £B l^ E=g gag t fe^^te #te ESSAY ON THE FUGUE. 225 ^Epgpi^s^PS FF=- ££ -- ■C7 1 — G* — ^ — i — a — - 3 4 S3 2644 5 S g^^^£P^=^pg=g i 3= s> P- *=* ^g 4=t fes fep= Inversio. The compass of an Octave is not to be exceeded , because , in double counterpoint, a new harmony ought to be originated by the inversion; if this limit be passed, the same harmony will be repeated, even although the composite intervals be reduced to simple ones, and these are not so much intrinsically as locally different : thus, for instance , the Tenth of a composite Third is changed by the process of inversion into a simple Third ; the Ninth becomes a Second, and so on; in short there is no real difference between composite and simple Concords except that of the distance between them : p ^En ^^ smm 9 67 681011 13 12 10 =^=£ 3=jg==^ £ -m—P- ^ Octava gravis. But in order to correct this faulty counterpoint and reduce it to regula- rity (which is more easily effected by means of violins , on account of the position being rather too high for voices) one of the two parts , whichever is most practicable , must either be raised two octaves higher (i. e. into tlie real Fifteenth) and the other be left as it was ; or, both parts must be transposed 250 -THIRD SECTION. the extent of an octave, viz: the one raised and the other lowered eight tones of the scale. 8) The pure Fifth is not to be taken either at a skip , nor when both parts move gradually onwards , nor as the passing note of Fuchs or as in- verted passing note, prepared by the chord of the Third, Sixth, or Oc- tave ; — because it would be metamorphosed by the evolution of the parts into an unprepared Fourth. — The transposition of a lower part into the octave above is termed inversio, vel evolutio in octavam acutam: a similar transposition of an upper part into the octave below is termed inversio, vel evolutio in octavam gravem. COUNTERPOINT WITH A CHORAL THEME. sfeg^^gga s £ ..43231 ZS1 i b« b 3 1 2 b 3 £$E j*f=^ fc 4 3 6 o 7 6 5 6 ~S> :M= Inversio in octavam gravem: Bz ."31 3 6 S 6 7 6 6 8 b 3 b 6 s 7 b 6 s 3 6 B iB-H-kJ-i-^ ^^f ' — ^r. 3 IE 5 6 3 2 3 4 2 8$ 23 ^ g £ If one of these parts be raised eight tones, the octava acuta is pro- duced, which must, in turn, produce the same intervals again: — by ESSAY ON THE FUGUE. 251 transposing it two octaves, higher or lower, the real Fifteenth is obtained, in point of position. COUNTERPOINT WITHOUT A CHORAL THEME. i * < s >- ilg *=t 7 3 2 3 6 7 3 7 6 3 2 I 2 6 £E^ i=± *SS -f g - g E 7 a 6 r 8 r o -tS^-- ££ B Inversio in octavam gravem : ZJL1 ' r+^H Ee==£ ^m £= 1 6 76321 2 3 6 7 8 7 * a^a^ ms - r _£j_: J~=f s 2 3 26321 2 3 3 * COUNTERPOINT WITH A CHORAL THEME. H i n^ rr r^^u^fSq^ t=t 13E 9 6 S #3 * 6 3 * 3 2 3 8 fi 8 7 6 32123 6 3 & 6 Z3C 252 THIRD SECTION. I ffprtfifeia **— ipsssgsss* $=* a 3 2 636 7 6 #3 A '6367 32 .22 ,-^> Quintadecima gravis of the Violin, ( the upper part.) ME 3C J etc. gtep^ft ^ s Octava acuta of the Alto : Octava gravis of the upper part. F 131 3 ♦ G 5 5 G 7 6 8 f etc. rt £?3fE^: -F— «- =f l iMP t=t fe£ Although one may change this kind of counterpoint in the octave into a Pricinium or Quadricjnium , by adding more parts , (making it three or four- part writing) this may be effected in yet another way by observing the follo- wing regulations : \ ) By using none but the contrary (or oblique) motion. 2) By using , at every Thesis or accented part of the bar , no other Concords but Thirds, Sixths and Octaves. 3) By never writing two Thirds or Sixths in direct succession, either in motu recto or contrario. If these rules have been strictly adhered to, it is only necessary to write a Third above to one or both of the two parts , from the first note to the last, and the piece becomes a three or four-part composition, which by writing Thirds below will appear in the relative minor mode , e. g.. A minor, instead of C major ; the Thirds also may be changed into Sixths , that the parts may not cross each other too much. \ 3! te— sz ^=t £ £fe£ G76 34 8 76 j * 5 ti 5 Se^r^EEgfN^f^g £*£ ESSAY ON THE FOGUE. 235 Octava acuta ' of the Alto : Octava gravis of the Soprano: \ fcS^5 2 3 6 S % 3 etc. BBJE E P?fPfS££ IN THREE PARTS. i^ 3C P-l- 3JE 3JT or < BjEfe^^S « ^i IE$3 §3£S etc. ES S ?=* -^ t^— *EEES or < 3E ^^ ^^ £ =** or < ^aj^E^^g - [' BS^^ -se: -i=t- |b TO5 ^ S: :zzz B S-7 Ttr i=^ mmm s r«- 3h^ IN FOUR PARTS. I £: fe ^^= i! zsc ^^Eg -(=*-- fe^^^^=^f!=f=^ siE^^ afcE^^eg g 234 13C THIRD SECTION. or < S -& or < £ t Ti i rftW^ m l g^^ag=g ^=t g= j rirp ^ s e f^^^e ^ ^^m li ^ 3 — fi^- I YESz ^^ ^fF£ £=g In the following Fugue is shewn how the Answer is brought in by the aid of double counterpoint in the octave. « 3E£ ^EEE -•-p- ^S Pig .«-—»- S ESSAY ON THE FUGUE. 255 NB. ISC ISC ^sczam rrr i f rfc^ 3^ E -&-&- — ^ ^ -•»- P" ffi Z? d> gC i r r 2C &E^ ■ 0f \ n f^— (=-S>- P§ -«— -*— 9- m -~ — «-— si g^^*TO gE£E&m£ m R=5r t2 Il=2- ^g^E^gE^EfeE ^J^ -&— «- 256 THIRD SECTION. S ^sarrrm . ^EE& -St=LZ& £=^^g=^ & _ ss ^ tEt M— «- £=£ =t=t g^S: t ^-^-F- f -f-^ g ^^5 3t-^J: At the NB. we may observe, in the first place, how the Answer begins in Unison after a pause of half the bar, and is changed, by the inversion of the subjects, into the Octave, (see No. K, %, 3, 4 and 5.) because the se- cond or contra-theme always- replies to the principal theme , either in the extreme or middle parts, in the Octave; by which alteration another harmony is continually engendered. The reason why the Unison is changed into the Octave instead of the Fifteenth is merely that the middle parts require more room ; for the composite intervals are , as far as the method of using them is concerned, precisely the same as the simple ones. At No. 6 the parts play alone , in an artificial way , with the Answer, and conduct it to the restrictio. — The. compression of the parts , drawing the two subjects nearer together, might also have been made in a similar manner, according as the value of the one or the other note had been alte- red ; and the closing phrase might have been contrived thus : ESSAY ON THE FUGUE. 237 igr^ " ^^gi^ g^g^ ^= 3* SEVENTH CHAPTER. Of double counterpoint in the Tenth. In connection with that in the Octave we have already shewn the use of this species , when Thirds or Tenths were added to the parts.. -In real counterpoint of the Tenth this interval is changed into the Uni- son , the Ninth into the Second, and so on, thereby giving a result of inter- val in the following proportion : iO. 9. 8. 7. 6. 5. 4. 3. 2. 4. \. 2. 3. i. 5. 6. 7. 8. 9. 10. + + + To obtain the possibility of this inversion , without breaking the laws of harmony , the following rules must be observed : 1) Two Thirds, Sixths, or Tenths are not to appear in motu recto, be- cause they would change themselves , as the above schedule shews , into Octaves , Fifths , and Unisons. 2) The bind of the Second must in no case be prepared by a Third, because that would give rise to consecutive Octaves, viz: 3, 2, 3 = 8, 9, 8. 3) The bind of the Fourth is not well applied to the upper part, be- cause it would produce a false resolution below : 7,8; in the lower part it may be advantageously used, when resolved into the Fifth, because it pro- duces 7, 6. above, (by inversion.) 258 THIRD SECTION. 4) The Fifth in motu recto is allowed in the free style , because it be- comes a Sixth by inversion. 5) Sixths that change into pure Fifths are allowed in motu recto. 6) The Seventh may be used a due both as a bind and in the regular transitus , but only as the Decima in a tre. The passing note of Fuchs may also be used in a due. 7) The compass of a Tenth may not be exceeded, in order that the inversions may be formed properly. 8) Although the piece be concluded on the tonic, as is usual , the upper part must commence the subject on the Third or the Fifth. 9) Seeing that the inversion is made to lead (with voices) only to the Third , as proxy for the Tenth , it is customary to transpose the upper part at once into the lower Octave. This species is called Contrapunclum duplex in Decimd acutd, when one or two parts of a composition in several parts proceed entirely in Thirds above or in Tenths : it is called Contrapunctum duplex in Decimd gravi, when the same thing takes place with Thirds below or Tenths. — Sometimes a Third above or a Decima is produced simultaneously with a Third below or Decima , in a four-part composition ( a quattro.) The afore-mentioned rules are valid for writing a piece in three or four parts : i. e. the contrary or oblique motion , and no bind of a Discord, nothing but 3, 6, 8. — Thirds or Tenths may be written, sometimes to the principal theme, sometimes to the Answer, to both in four parts; and the' other part may be transposed into the double counterpoint of the Octave. COUNTERPOINT WITH A CHORAL THEME. ^= =S=F? fES^fM^&^p^g WE zt=fct 634 6 5 6 6S8 3 6 STffe— ^ — -I ,w \ ' s ' I a- I " —I n I = m^ ggg^ is^F g 8 7 5 6 8 3 M ESSAY ON THE FUGUE. 259 INVERSIS: ' THE CHORAL THEME AS UPPER PART. The counterpoint in the Decima gravis: (Tenth below) by which means the key of D is exchanged for that of BJ7. v :zc sese^ ZSZ2 S S 7 5 $ 363 G H 321 ;e ^==E^|E^g^E^^-^^ppE^^ E& 3 * 6 S 4-6,5 3 6 S^^^S :& Or: the plain chant raised a Third : the counterpoint placed an octave lower : Tertia, vel Dec. acwtaoftheAlto. Octava gravis of the violin. 3 1 &z fc 8 7 5 6 S 6 3 [? ti 5 i^ ^^^^te^^ 3 2 1 3 4 6 ^3 4 G 5 3 ^Egggg^g^gEgg BEE IN THREE PARTS With a Decima gravis of the canto fermo, or of the counterpoint. 3£ jB^EE^E^lE^^-^-J-Jz^z^^ etc. ^ ^1 ' 240 THIRD SECTION. or ^gEg^EJEg^^PFN &F. ^ &=*E&E3E3=$=fE$E£&E}=2 To obtain a flowing melody , also with reference to the changes of key which the inversion produces , an interval must here and there be raised or lowered. '- COUNTERPOINT WITHOUT A CHORALE. g g^fS^gj g p-&*=>st m dt=t W= mmmm P i j g -fec-^- te IN THREE PARTS. ^m i^= £ sr ft -£± -e^-p^ —m — a - c f^=^m£m &Hs=m «=^ Decima gravis. i^^PP^Illli 3=* -&—(2Z. -*>=z?z -»-* » ^gE gr^^z^ ^^gg ESSAY ON THE FUGUE. 241 IN THREE PARTS. 3© -* f=ff-^=fffefEgEEg6EE3 g IS EE Tenth, or acute Third. =1= g=£ggg^gp^; i=3^^£q F £#3qc^t t± :« Deep octave. Egg^ jfe^jf^ E 3fEEj£ s t= In actually working out the fugue it is not necessary to introduce the inversion at the very commencement, or to keep it up to the end; the com- poser may, on the contrary, choose two subjects adapted to inversion, and combine them at his pleasure, and in any part of the fugue. When the piece begins on the key-note the transposition into the De- cima gravis (the deep \ Oth) will conduct to a Third below, i. e. to the Sixth above , which is also allowable when it forms modulation into a relative key. COUNTERPOINT WITH IMITATIONS. i=§l=E 3£ -!«-r-» ^S m s>^- E^E= 3^ £ -•— F- 3=fc ?F-f- — r feEE •#- -a. ^ t=t 3*== ftt *e? Acute Third of the Alto. ^- = rt- f: it 3E Deep octave of the Soprano. Beethoven , Studies. 46 242 THIRD SECTION. f * ~r « $E |3^E= =£ g £ -«^- B S Decima gravis of the Soprano. UE±E£^gE^F ^j -#-*- -— ="^bEf ■#- -a i^S ISC ^=t IN THREE PARTS. -"fEEfc fe ?=££ -> i «► §E ^ S «= ^z= -»— *- :l=t m ^ ^Eg=^S- Decima gravis. ^r- r— r~ f- License. H=e=F ±=£* f=f lesr §p^ J^- gg ESSAY ON THE FUGUE. 243 ^m mm -ts>— Terlia acuta of the Alto. or < ^S § £ £ E^^E Octava gravis of the Soprano. s=-^^^^s ^^£ * Decima gravis of the upper part. _!Z- -»— P= 5=t -•-#- When the counterpoint is to be made use of in all three or four parts alternately, one or other of them may be suffered to pause by turns, or to fill up the empty- space with melodie phrases, or to move in contrary motion to the subject, or to be introduced in some other permissible way, e. g. t-0 : TY72~ -0- s -G> — p^F?* W=iTZZ =t E ± ^ ~ c 0- es pr-m Ml r&5 #-#- ^0=5 tt=tt IE ^ £= 2C It is now to be shewn how this counterpoint may be used in the com- position. ,_£■'-"- ; j£ £= *^ Theme. =zc Answer. : J - ^ 4fi* 244 THIRD SECTION. Although it appears as if this answer belonged to the class of counter- *point in the octave (because it may be inverted in the octave ) let it be re- membered tha% as aforesaid, it is capable of being intimately connected with the counterpoint of the Tenth. In the following example this counter-sub- ject is given as transposed first into the Decima acuta, and afterwards the notes that previously formed the bass are raised an octave higher, in the alto region , with a new fundamental part in the Tenth below. " ^T 5 " ?~ \-™ I"t ■ ■ — 1 V' 1" \ \ Decima acuta. ll 1" ' ■ ^ \7 1 J* I- /S a ej & ["- -X — \— £ frf-"- Octava acuta of the foregoing bass. Decima gravis. FUGUE IN COUNTERPOINT OF THE TENTH. ■ ■ ■ ■ rt " rt ■ ■ i-j a /3 |e> • ! \\ 1" ' "* IV ,-. — T? V(* a J g) o '(* » • • 1 1 1 £' ■' No. 1. Ri— ^T— — — ~* — ■ —- 1- „ *!- — e — h->3 &— — a— -^ ....; , | g j^-- . ^^J^U ^&^E*} iw^m 1 tea He3*='=eB £ No. 6. -js 1 — - :|=4= rsc M — s 12 3 4 1012 8 3 6 78 3 56 " - Its* - f3 _ ■ _ Q- /W " ■ £_ f—»—m- J -*■ — = — — -zr—\ ' r r p - r » . -^-tfi -— 1 1 — r i — f* - -f 1 ' ■ -j — i— (— . — M^~ 1 U, — — 1— 1 i Duodecimo gravis. 'P 10 9876 3 4 S fe ^ 2 3 4 3 ^-fer ^sfeB^fe ESSAY ON THE FUGUE. 249 Duodecimo, acuta of the Alto. Qctava localis; or permanent part. |j£ 3 12 3 4 10 12 etc. gi=K e£ -T5C Qitiwfa acwto of the Alto. Octava gravis of the Soprano. ' JL. 3£ 3 1234 1012 8 3 678 3&==E ^-g^SEJE^E^gg ~SL- '-¥- -s- 3 S6 109876 4 5 3 2 3 4- #3 »-,— fS-»- EEEE S ^gj^s COUNTERPOINT WITH A PLAIN CHANT. g^S^r?¥N^ ^^■Efeg ^ =t± 10 121110 9 5 67 10 9 8 7 ITifF ^ ^Si- -r^-#- =i3r S fc£ eeee" S 12 10 7 0S 345 8 S * #3 "E^L INVERSIO : 1E$E I2C I3Z 8 .10 9 12 34 8 76 £456 ms iEif^ — 1= Duodecimo, gravis. 250 THIRD SECTION. m w 3C 8 13 5 6 7 5 8 2 3 Pe3 £= fegE^=p=fEgE^^^Eg Duodecimo, vel Quinta acuta of the Atto. Octava gravis of the Soprano. 7 i /A' , ~4»w- 8 1098 543 12 3+ 876 etc. ^ == r^^^^g--n g f^^ .4 2Ve: Duodecimo, acuta, free part, Octoua gravis. 3E 3E ]33fEsfe; S ?= S^ rff= .fe^lS rW-*~ -g>-*- SP^JE H^ frfjf leil ^^3f^g tE±3^±-j£ ^m m fe ISC .4 (/ue: e i£rm ^ a^£j=l=£^ ^ ESSAY ON THE FUGUE. 231 Duodecimo,, vel Quinta gravis £E of both parts. I ^T ( y ^m J R g i g^Hg— f-f .4 tre: < i af^ First upper part, or Quinta acuta of the inversion. 3$E IE Deeima, vel Tertia gravis. ^ES^EEJgEfE^EElEEEg First lower part, or (hw'rato acuta of the inversion.. or : < &$^= 5E SS -1=3- 9Rfr -yS>— «- =t=t glEEgEJEp=^=EEg or : with a Deeima , vel Tertia acuta. ^4 :zr: ^EgE^EfEEg SEE -t- Dec. acuta. Est ^ -|S — e>- *=t or: SEtfc zar S:- « Tt± ±P S3EEEf S=£r£r£E g36EpE]E£EE£ *E£EE- j^ ■.CL* 1 F*i! 2S2 THIRD SECTION. a quattro, with Tenths or Thirds to both parts. ^ 3z Dec. gravis. £ZJEZ^=^ gg^E^Eg^ Dec. acuta. ^=f=f=?=^m^^ ^ or: £$E rar P "^ ^ 3=* »!—»- Wt S^E^ ar-^ftrt Ss =t=fc f^^B a due; ^ - Chorale. £^^% Chorale, Sva acuta. 3=£ 7 6 7 6 7 fi 5 ff 8 12 6 8 6 5 363 2 3 8 346 565 ^ m-^\ — \=r ( ff^mf^¥w^ Counterp. Sva gravis. Counterpoint. ^=hz^=^^^ ^m^^0 3632 343 2323 2343 1345 10 987 3 4 636 p§^fif5feE=s i5HEzzn Chorale. ^ggyagp^^fe^^^^^a^ 7 658*6 7 6534 6 7 65 3 65 363 432 6 -* — ha- I^^^S P—e>~ Chorale, &va acuta. gpg ^ T^ g « ' j* 1 - 7 3 67 6—-— 8 10 106 5 4 6789 6 5 3 6 3 ^w^K. ■mr- ^1 fTniinfp.pn R«i/7. rtrninx. Counterp. 8va gravis. ESSAY ON THE FUGUE. 255 i^S gE^ -P *- S 2 34653 2 3 4 G 5 3 * 34 6 #3 4 63 « 567 g^^^gj^^g^^^ ^Efei^ES ^ =t 26 32 3— — 86 65 3 4b 65 3¥=&=gaM=&=-^Sig 22= No. 2. Menuetto. Fioiino. Ti'oJa. C. f. *=£ S^:- EtEfeg^^^Egst^ C.p. *^ r? r\ f\f*tna\n nntiln C. p. Octa«a acuta. Ifc =1- *z r*3t± =br»- z£ t=t *-.*- ?^?ag agg C. f. Octava gravis. *^~ C. f. n^^^fe^S^pg^sr^^g C.p. j^ ^^SgE£jg £i S^g^ g ^tegEgEgE^fa^ J ^S^^ B ^iL 2S6 THIRD SECTION. ii^£ti^ ^g^sa sgpqffr^ C. p. Octava acuta. E mrTrg s ^jj d ^^ fTggpEf C. f. Octava gravis. g -T ^ afe^fe^gfejgEg^g s=3-E2 *=B3 ^Rzg^&0^ -£ — • No. 3. A. -»—!•—»- E£ EE£ IZJI «e£e£=£££ s ss h- z r-v~^=f=\ H^#£f= X— U-P-fj?-; -* — 4—. U — Hzfr-f-f- JL ' M_J_jj»j:-- -P-+ i— 1 r^ IE$E^ £=£=£ e J=t±3= Duodecimo gravis. 9- it, » IS EBf: &£&^ ^m i r-l-Zf - [ =£f=zx W^^^^m^ S= ESSAY ON THE FUGUE. 2S7 3^ ^ #— f- t=± Quinta acuta. a ^a ^g ffi? £££ -*— #■ S^££ £E££ i=t elg£S3=^&il§g3 321 D. ^ — 0- Dux. Tertia acuta. iSfegsjM 3C Comes. g F^fig sgg=g 2,2:: 3= I EfcE^ t==t ****- ^E^^^^^^^^P Comes. lEEi?E=lfcEEl?t frlQ^itE? g ^B^EEgjE^ Decima acuta. m^s fe i-z^z Comes. Tk 264 THIRD SECTION. i ftfW= 3-\±j£ -^G>- jsrzzjtt fe fr— ■»— J- " 3 ^ =^= **££s iii^ pt=H ■*-f- =tst ISC ^^g^a^^g eg a>-. 4 a^^Bs^^^jH -g- — *■ 53= it ^Si^ tijte P§ig tq=» -f-»- =t=t ¥£* t=^=t -i^- -*-#■ «i-^»- 3 3E ft a. — \*^ - }pi=% I3C I S f-T»- Dua;. I Restrictio. Dux. Dux. 5 fe£ fl£ i^t 3=^ i |^rt;g |=gEb^4EiE^^^: s Duo;. -&* — ■■ — +-#■ =^3 feE a S33 ESSAY ON THE FUGUE. 26S §05 **£ » ^ffi" g= ^ #^^P E | 3 gg ^^t^^fa E - m^- g^ ^E^E^^ -|^^ £- - ^ tfEE&. ,*■ &■' mr- t=t « i^^ *=t -*— ^- S^^B^N PE g fFgffk JE^ 75»- :t=^* f£S * -!« — »— «: fe -g^-fa *- 3=t=t « ifegjfjp^ is « -^-»— » p -#-*- =tt= ** *t£ i± ;£=== * *—•-[-*-• t=t= tt=^ Hfi r-S'- 32* ^^^^^^f^^^^ 121 gjggjg^ i gg a^^^jjE^:^rg|^g^^B^^fe p ESSAY ON THE FUGUE. 269 Decima acuta. *<-*-. U**wrt&££Ez. jjfFgfe^ 4*-i* 1 — p-ig- ~T • m——0- t=z±at=ct * Duodec. acuta. Decima acuta. lElz "ST Octavo gravis. Decima gravis. *-,-#-»- fct £5 Sg •+#-#- £ *-£ -»-*- » i#-M tt t±l=t Decima gravis. #= Lte |SE£fE&EfE(E£ -w-* t£ FTT * •- !*-» =t=3= ^^ ~?g" FUGA PER DUE VIOLINI, ALTO E BASSO. No. 6. Sggg ^Eg^ ^ ^g Egfefe^^E Dux. i £v^-= i E3 ^a j — *- ^ ±n=± Comes. IE §3E 270 THIRD SECTION. i^ j^feEtefE^-g^^ #§ ** Comes. zzm s fe^a § J-r—j ■m P- x==x *=P tf Dux. I i^ Dux. ^ Ff^Eg tfEEI-gEEa » *---*- ££ **±t ^r=rgfesa-t^gg%f^ SeS Comes. £ £= £ i V Dux. Dux. 3 £ ^fe *==*=f 4= =£ JE£e3e=S£ « m *F&=? = ^^ f ^=^^^=^^] ESSAY ON THE FUGUE. 271 pm&=ds=&m£=£ e£E m ^==gESJ=^|g^^ -ft- — -#- 3=t Efe £#■* Isfete jb=£^ & 3= SiC Mf=§fe*£ S ^E fegg fBg E-EJ^EC^fE^ !■-#-*- ^ Decima gravis. P^gg-jff^f?3i g~j T . J Countersubject. 3=S 3t Leader. (Dux.) 3=4^=3= =£= *=3t =g ^^ ^E^ 7 b— ' b Countersub : i -&- ^ fc=^ s** ^S^=? £= t== g gfe B=- £ £££&£ Leader. Countersub I :£= S ^ Leader. 33 t r la ^44^*3 •^=-j-«- F* 1 m ±= ^gSlfii] Countersub : « ggjjj * :£= 3= 1 Beethoven , Sludies. 274 THIRD SECTION. iip^l^^^^ ~m £e^£ i^M tst ^=e: Leader. ^ Ss£3 -t^L El= i S^^pS^ *E 5= *=E i^g§gig§§ ■g^^^fe^fl^^^^^ «• i & Dux. Sfo' L1 ■•-" - 1 |->T ■<=- £= 3=d4 =S=: Seata gravis. £=£= gS^aiBi^ gkg p Tertia ac« i Subjectum rectum. £ $ Contrarium simplex. 278 THIRD SECTION. The inverted contrary (contrariwn reversum) is objairied by adhering Strictly to the musical sequence arid, accordingly, changing all the Mi into Fa tones, and vice versa, e. g. -3C zsr. zssz -&■ -&—&- Z31Z in drawing, a parallel of th.osei notes which, rise °® tne 'eft and fall on the right hand, the result- is that the inversion asuaals the disconis ; K, for instance, is changed into C, F into B-mi, G into A, etc. The, first species is, ternjejl the flat (o,r broaft) inversion, and may occur in five intervals, viz : the (jjciaye, Fifth, Fourth, Seeond, and Unison; e. g. Thema. Contr. simplex in 8va. in 5ta. p3 =A^^^^ ^ ^f^ S in Ha. in 2 fi 6 8 S 5 4 6 £=£=£=£ 3^F£=* SI S V ^gn , ? ; - 3333 * b * J7 S 3 332.0 fr -f-f : J dQzCz p-ll J hjTa All "which is bad , clearly enough. — There is , however , one excep- tion, viz: when the second Fourth is extreme, i. e. a TritoWus; e. g. ESSAY .ON THE FUGUE. 287 fg— I ■ !& i < g h» -l -+ ^ 2Z=:=?E I35Z £= ■(a ^ ■« £=£? S 6 3 3 3 3 3 Sg £=£ rar S =t (No objection can be made on the score of the false Fifth.) Sixthly, the Fifth must npt be heard, as distinctly struck, because the result would be (in the transposition) an unprepared chord of Six-four; e.g. bad. m -p- zst m The other transposition is good ; e., g. =£ £=§ 3 The former of these must, therefore, either be omitted, or else no Fifth and nothing but the complete chord f or | must be introduced in the principal subject ; e. g. good. good. tolerable. good in transitu. =F4 ± ^$pmm^=^ ±±*=*z 6 j 43 5 C 34 6 6 3 3 3353 5 3 j 3 L> # S ££fete£§ p=p=:=£^=qB=i£ 3t 3 3 « 6 '#456 * 3 6 S l> o 6 o 6 5 gsj^^^^^^^ paiR'^^ a^^fryr^^ 288 THIRD SECTION. ii^^^s^iii^iiii ♦ 34 3*34 3.4 *"* 2323 2313 2 33 & m&f i3k ft ffi j) jJ^Mh^ p^ ^#^# ^p 3 J%ft 3E - iV EE * H fJ5^ElE « 3 G 5 6 8 3 8 h 7 8 -3 2 fe Secondary transpos : of the same. gEgg^pgig^i 3EE m iSBE m Second primary trans: §&E E?£ -(=- PEE 3£ *E C 3 4-38 2t=EE&=g ^3$=m&Eg^ Beethoven, Studies. 19 290 THIRD SECTION. Secondary trans: of < the same. |fe *==E£ =3 J^E^ £=£ 1-feE^gE^P^I^E^^ Third primary < trans : EEPggg^SgElg^g £FF^ h2- feE IS -9- g =fe =4 Secondary trans : of < the same. te IB^E^^£gE^E ^E ^^E [ gEE 5=££ £ THE ABOVE FUGUE WORKED OUT. — s> Vu -j-m- EEE X Efe »E£E « « Thema C. _ 1 !■»« «=- — I ' Thema B. PEPE TA. i4. TAenla 4. i^E^E^^=^ -1 - 11- n. b. m 33 ESSAY ON THE FUGUE. 291 &i£ =*= n. c. Th. A. wjs£-Jt=s^a&rr^ 3J?=£= ste Tfc: B. g jiBgEfe^ mt ^m^ ^^ Th. C. m ±zl& Th. A. Th. B. ■f=£=tf^^t=^^!&£^lg*#£ Th. £ ^ grgi ^ ^^ggg Decima gravis. sgpisi^^ Wt-U~- -'-*- Decima gravis. Th. A. ^si?tm ^ ^^= ^m a Th. A. (Semirestrictio.) Th. A. al rovescio. £=£= Th. B. Th. A. Th. B. m^m^ ^=^- -«_— [-— Ij-j. 1 rfc. .4. oi rouescio. »ES s§^^^^ Seajta grav. Th. C. Dec, gravis. ^ ^Ig ^ ^fe^E^^ S , fi g 19" : 292 THIRD SECTION. gfe^ H£ggff Tffig £& g m ^q — >» — ^a — i — u»j g^ ,i (==a» ■*=-• -£-- Th. A. Wz mz^Lm ^gg^BP ^g^i 3=fc= 7"ft. .4. 3=eg fe3 ^^S _Dec. acuta •i _-•■ r- S^S£g"J£grg^ £fe^fz=g£=fe|: ra. ,4. £ Seirta acuta. Th. B. m^=^P^=i mm Th. A. ^f^ff^g ^ sEBjja **= •^ ■» ^=* fe^S g=Ss ^pF=£ ^ E £^f=g=£^^ g s gr=l^^fe^ Decima gravis. SOUS Decima gravis. g=Zjl^j [^/%^£ g f=i=fr? g ESSAY ON THE FUGUE. 295 Th. B. Th. C. JEESS^gEgi&==feg 3=!= Th. C. w#tt Pff^mi F=*=& && Tertia gravis. Th. C. Ie^^^^S^ h^S^ ^±e p=E ^ TA. 4. R=r3~?P=3 fflestn'cto.) 3= SE ^^ Q^g^jgEgf Th. B. fe IIS ;§S£ JE^ff^^ feJ ES TA. 4. P M-dff g&£ isnis ta. c. ^^JT^^ fe ^r^pff 3= -:££ « J — i— + lEfegfegfe TA. ^. g^Sg TA. B. gg^^ gffjg aE TA. C. Tertia acuta. BlE^ ^ ^3E3F=^ =feS * TA. C. Sea;te gravis. '^^^^f^^m B3E 294 THIRD SECTION. S^ m- ^ =*=e£ Th.B. Th. C. Th.A. U &&&&&EE& Th.B. ^^^fe EE^^ ^^-^g^ffi Tertia gravis. Th. A. Th. A. m^B 1=^- ^^^^==e $=£&=£ ii e=gi§§iggg6il r-Fxrmf ^ ^&frm be Terlia gravis. lE=£ fette ^m t=m Decima gravis. ^ m^^^ m8£&Ej=s^$^ e m£=*£& ■j — c Decima acuta. SEg^^g^ ffi E£fc P 2=?s:: g^fe a SfeS jS £& e£S£ i^=a^^^ Pfei ESSAY ON THE KUGUE. Th. C. 29S Th. B. fEElE P ^-j^^^g^g>jgg jj ^^ £ TA. B. ^ggfe^B *= TA. JL P^l^ Th.A. 3fe ^ ^ Decitna gravis. 3== £ *=« ?rf g=*3 S^fif n. c. 7"A. il. 5E^5 ^ — p t=tt TA. B. .g^ ^^^fe^ g P&P&=F# &=^ 5= ^ *M-t Efe J7i. J. S^i 3 £=& Tertia acuta. m psiaii r£ * t=: TA. C. g*E gg TA. B. m sr*= *m^££0 •-•- Tertia gravis. gjfe ?r H rfr pfa&^ag^ 296 THIRD SECTION. £=fe f* & $ £&^ M^=*t Th. A. fefete ^ S ^=w f-s Th. C. Th.A. ^t -^--^ m ^=^ 3C No. 2. .4. kp-vA ^fagg ■!*■» •* 3? TO #.. ^^g^^g^^ ^g^ i^^g^^ ^ ffig ^^^fe^agi^^^fe^^^r^ ^. ^ m = :£= terri^Sfefez te s m B. §^=g=£^^^^p^ ESSAY ON THE FUGUE. 297 E^EB zzzors. £J£±£^^ggEJjEB c. iE^g^fegjg^g ipfe ^9±=t IE -ks>- jfeg ■fz-s>- t=t t=£ $=t 4>=E B- — gfeB^g^Egg 3E -*-#-=s £S c. £ *=£= Jfc-' t± sin j- «-r»q =l=t=s= te ££fe pfcpS^S^ ■t— r*-m- SB ^-- ffig -« — ^ B. i 3e?£ 5r=pE^E=Si 298 THIRD SECTION. E& m?=? i ^sg mz >= jtfzt? e feE3iS3=£ Ei^S? C. g 5 = ^ ^jp ^X-Ja ^g 3=p ^= S mftf^^te ip^ ^ ^S^gE^E E^ m=l£ IS§ 4. ?z= ££S i »h F^ B.„ =p= -^ §5 fe *fc£e 53 :(* jV^,b~^, :a= 33=3 fe^g^^E^ r _,S>._|Z|« 3=4= |!E t==t tBate te y fefct Sibils 4. 4=== fr-fg=fe =j=g ESSAY ON THE FUGUE. 29!) =£ 3pf fe£ffi -«.— a- e 1 3E S&S EEfe^ fetfeJfo ^ fef£ *F5= « 3=t -g> — s~ ^^E^^E^E A. 3 fr 1 - fc± 1=3^ S^^S 5£ B. . m. £ ■<2 ■#■ ' "•«• _ #■ £-^ :t=t f£^£fr .4. C. i^p3^ g£*$ jEEjEg * S^Sto acuta. 4. ^P^#^^j F^ ^£^^f^^?^^^ zc W- W- ^^^^^^ ^-^fhr- ^^^f -f- ■& g>- ij-r^: m 1 ESSAY ON THE FUGUE. 303 TWELFTH CHAPTER. Of the Canon. The strictest possible Imitation is to be used when the Canon is in the Unison , viz : for equal voices , or in the Octave from the first note to the last. The Canon may also be manufactered in the* other intervals , i. e. in the Second, Third, Fourth, Fifth, Sixth, Seventh and Ninth; but in some of these cases it will be found necessary to make certain exceptions and varia- tions. Here is the finest opportunity for developing the conundrums of art — mathematical calculations, and the like. The following are the different sorts of Canon : 1 . The finite, in which the melody closes with a complete cadence. 2. The infinite, which begins over and over again from the first strain, and where the close is made, at pleasure, at any point of division. 3. The augmented. 4. The diminished. 5. The shut canon, where the entrance of the parts is indicated only by signs , and the whole strain Is written continuously in one line , without pauses. 6. The open canon, where each part stands above the other, together with all -the rests required up to the point where the voices severally enter ; i. e. inlhe form of a partition or score. 7. The retrograding canon. 8. The double, four-part; the triple, six-part; the quadruple , eight- part canon. 9. The Climax; Polymorphus, (multiplex) canon in a circle, or round; the organisation of which is indicated by its name. 10. The arithmetical and enigmatical canons, which, like all other kinds of riddles, are easier to invent than to solve, and seldom*) repay the time and trouble spent upon them. In former times people considered it meritorious to cudgel their brains with such laborious trifles , but the world is really grown a little wiser now I The Canon in the Unison , for equal voices , is in fact nothing but a regular a due , a tre, a quattro , etc. ; in which one part enters after the other , as soon as the preceding one has finished its phrase. The one com- monly selected is that which forms the bass-cadence and produces the most complete whole even in two or three parts ; e. g, *) Never. P. 304 THIRD SECTION. NO. 1. SKETCH OF A FINITE CANON FOR 3 SOPRANO VOICES IN THE UNISON. Allegretto. & &1 r r-T- &tt¥=*=&==i£E^- x =8r 1 — K i^S^ &£smt$mm£& 3=5 %Et^ mm&=&& i^ ^mm\ m f—\—»- '& -*-*- 3=t f=j=^^|=g^P^^ K§ yl I V. *— l =j=3 iM W t . This is a shut or locked canon, the third part being written Tjfter the first. Frffi^toa^^ & f^ ^gggg^ femrrr c J ^^BBgS g ;*±3=t ^ (Here the second voice takes it up from the commencement. '"*■ (Entrance of the third voice, from the commencement.) pEJJgEB^Em *=£ & Z- 3= VP- m-P- 5 *E^3L In this kind of alternation, or response, the whole maybe repeated as often as the singers like and the listeners will stand it. The parts should ESSAY ON THE FUGUE 305 not lie too low nor too high , because each voice has to Sing it.,' To make this an open canon it must be altered as follows : »-i*-F-f-T ferq^^EarSsp^F^ ^ -tz H=S=E== ^= F— ^ IS** ±ri±^j& life ~£^= (The third part as written in the sketch, because it contains the bass-cadence. tw4€s^=$m^=^. P^ffi^l^^plgSife q=tct=t= g^^^^s^jy^ TtfTi- 5£ fe^B^IS^^ j^ggEEfefeg^E^ =£* S« ££ ?E3 tr-r-- ""-*& V gigs^iigiiia %5S -#— fei- r--Pi — J SEj ir^3 SS 5= fcfctff: g t^-*»rt gfe «-#- tge F=t &S P--» Beethoven, Studies. 20 306 THIRD SECTION. Dal segno, where the parts are united, and after which they keep on alternating. No. 2. CANON FOR THREE MENS' VOICES. Andante. B3£ £= f ^- r -r£=£=rF f In love's soft arms' tis sweet to rest: m^ m? = r=i£=£^ m In mo - ther earth' tis sweet to rest. 3=* feEEEfEi «e££ *=*=*?*& -1—m- In an - y place the weary head is fain to rest, the weary (feE S£ sweet to rest, sweet to rest. **= sweet to rest, sweet to rest I £fES3 =t= head is fain — to rest 1 NB. The effect is greatly improved b.y the parts leading of separately and not all together. SHUT. :& =t £=f£=£ ^e 3» In love's soft arms' tis sweet to rest , sweet to rest, ££ Q -^ = y^=^ i H ! =B^ , =^ sweet to rest I In an y place the weary head is fain to Z&L m^ 3=p -t £E * rest, the weary head is fain to rest. In mo - ther ESSAY ON THE FUGUE. 507 B=6 y~r & — fig SfegS « * earth 'Us sweet to rest , sweet to rest , sweet to rest ! OPEN. ^ fezgzrgzfa^-rf 0- ■» ^ 'i» In love's soft arms 'tis sweet to rest, sweet to rest, svyeet to §p& ,ft3& §fe§=£lE^ES^I 3=t m ± =t=ta: fcr*=£ rest I In an - y place the weary head is fain to rest, the weary " $g^Fpg^^^^^gy££g=^ segue fin all' a re-na e non sa-zia di la-gri-mar vuol con, sospi-ri an- J M M V* dlpc m w fet k ^^E^^Ert^m^^E=E=^m co - ra in- ghiottir di do lor car -bo - ni arden - ti (n - terrom- S K -fe ?rfc Z^EfefeEE *=^ti feP=*= i>e»-do swe lab-bra cdh tiii ac-cen-H. »f*£ B=£=^ SE i3g The following are bad phrases of recitative : sgsgite^^^^^SBsES: *=*: fcttf ^^S^iSi^Si^i 518 FRAGMENTS. Short hurried sentences ^S t--&zb=£=t: m & -9 — P- De-il tu me di-fen-di? sog-no? son de-sto? Harmonies to express sadness and lamentation : b J_ \>e b 6 ^ tJEp^E^^ffl ^ ^ a= 3C And, similarly, the modulations taken in the contrary direction: A. %E L 6 bs ~*= & c =fc c = W : &i* The rise and fall of the voice should be regulated by the increase or decrease of emotion : e. g. Apollo, Amante di Dafne. SeIeeIe^ee-^J^ Ma , o cie - to / che veg - go m^m^sa^z 'gEEEpEEEE^^Epp^E^g^E^E^EfegE^ £ ££= mat? J£S *=B frondo-se di vengon le tue mani; b' b doi-ie membra * * ispfe « qmnfo-Jio uer-di rom»; b' b th or-6o - re con - grt'ata tu nw'e voglie de- *« P^ ss fc FRAGMENTS. 319 SEHiiii^ p=p= 1= lu-di, o di -spie - ta - tal T=^m-- *=l Expression of wonderment and delight : B^ Bagfe^^^m Caro Unulfo, guida mi a lei, e sapra, che son vi-vo, seinMilan ve-de- fe==i£ Efe I ^iz^: fiiE^^b^ V=P- ram-mi qual con -ten -to! P^£ A striking effect is produced by the voice falling along with, the harmo- ny; e. g. =te g^^^^^^S =p Ah, my Em-ma -nu-el! Re-deem-erl low he lies, de-jec-ted, I s 3=fc Ba: ^ g^^ ^^^EfejSf P=P= stringgling wilh his sorrows, full of an-guish, yet re-sign'd! be Ije 6_ fe »c •*: gE femfe B^EfiE^ ^fcfclig Tot, cftemsps'rate i ca-stiaffet-ti al-le nostr' alme,voi,che alpu-di-co Ime- M .*& _ b« 5sd Efe * 1 520 FRAGMENTS. teg=£|Ep ^^E|E^^E^a= ^g ne-o fo-ste presen-ti, di-fen-de-te la, o nu-mil ^ zrjsc: tS -x The expression is rendered more forcible by repeating the words ; e. g. g^fe^^^E^g EEfEJEfe^- fe^fe@ He rescued from death the gent - le girl, with love's al-migh-ty 1 fe* S £ fc==FgJLQ— gEJ g fjJEES * power, by yonder heav'n I swear, with1ove'sa!-migh-ty power I •:»-*■ ^zr==tz\=\ fr-l X I think, (with some alteration of the words)*) the passage might- b$ improved in the following manner : t-=fel! =&z «E^S m^m^. - fr-f-* ,, 'twas love's ora 7 ni-jpotence, by yonder heav'n lswear,'twas love's om-nipotence ! *-= =t ^ E sp £=£ CONTRASTING EMOTIONS. te-bV-ki - T rV fefc iS^g- ^^g^P p Bi^ig Ei Sposo,i; figKo, ma-id de ihi&i sos-pi-ril . Griiho-ahdo *eru- dell ■ ^ — zfe ± ^^E^^ga^^lT^ gppg Ei confes - sar-ti- (cheso?) chiederti- (o Diol) cheangosciaequestal iis' ^c £ =P *) The same words are retained in the German version (which was not possible in english) and the improvement consists merely in a more correct accentuation 'of the syllables. P. *^_« m. ^^==^=^=^=^ =^ * FRAGMENTS. 52 1 5=fe±fe JEfc£Efi=EEgEii t'i S(l ■ eri - fi - zio b» _ S W to con- =r= ^ fefe ^^g^E^E^^^aB| sor-te — (o leg-gel) o spo-sa! o sa-cri-fi-ziol oh sor-tel IV tefc h Vsc Jb be £= * A full close is made by means of the bass-cadence : JUJL JLi. ^i^gMl^^feFl JM^rf S=l §=£ ^=f^^ ^ ^ Close of one period , at the same time anticipating the next : --t —r—r—r n? — V — V — V- --t- Let thy brother now em -brace thee I ^ ^ Also by the use of half cadences : e. g. rf^=sq& m y—f — i — ^«- jjv- -p 4H Thou know'st him not? « E%EEEEE»Jgg fetea tis well ! thy ho-ly will be done I it # Beethoven, Studies. ffi 21 522 FRAGMENTS. ^=i^feg^^^ Con-sol'd he ri - ses up, strengthened by gracious whispers of - ~J* L PEE te ^^^Ejg^^^E^gEfej an - gels thro' the twi-light air , and lo I his foil' wers are with ~s us ^ §eTP g=g=S^gfe^^^^|^^^^^ hea - vy sleep op-prest, they lie up - on the grass, and saflly dream of * 3 * T =st 3^E£ SEL* fe** pe - rils ; — he looks with mer - cy s H m :t Half-cadences to express rising emotions : m * •% feig §± te fea- ttet To express a decrease of passion : g^^p^w ^ap^ ^ pg tt 5 1, « Closes like the following m E3E0P are sung in this way : h- *E$=£E$^=Z And others , upon 4'ff©r*nft syllables, s^^^^^a: ta *•"■*■■ fe=s=&Ei^l FRAGMENTS 325 -■fc ,, . Phrases to express interrogation : ^ or - . Minor. or. t- -h— ^J- J ' ft J - h , .1 * _*_ m2_*L or. ^? 5^ ^± eES^Steate* ^ im ig is that Mes-si-ah? is that Mes-si-ah? fe is that Mes-si-ah? .' # s =$= f£ ggg^^^^^^g^g w 9t am I his Friend? am I his Friend? am I for-sa-ken? it ,i a , e it -pr- zpc -3£ I i feggEfe-SE^e ja^;^ or 9^^ What form is that, so faint and pe - rish-ing? What form is b ._.. b', b dafc ?c- S^^l^S that, so faint and pe- rish-ing? b _ b" Se P«3: The word most important to the sense must be accented the strongest; the accent may fall upon a substantive , verb, pronoun, adjective, or ad- verb. — Exclamatory questions will be most happily expressed by a skip to reach the principal word in the sentence; as for instance : 21* 324 FRAGMENTS. Several sorts of exclamations. £p£ a, a-mi-co, oh Diol tanti be-niinur, to, ger-ma-na, a-mi-co, Diol ta/nti be-ni in un-dil b? b _ _ £ *= £e£eS=S5^^| =t 'Tis oa-ly one that fol — lowsaf-ter Je - sus , but sad and * ~m -pz- S^^gS si - lent - ly b» he goes. Jl ^ mmf^ ^^s^m^^ m^ Sogtio ? non desta ■ 6 i>. oft De»7 qual freddo ge-lo ri-cercan-do mi J £J=fegE^E §=&%e$e$ee± i>of warm benevolence, to help others, and that often at the expense of serious sacrifices in his own person. Whoever turned to him voluntarily, and in perfect confidence, might safely reckon upon him for aid. He knew neither avarice nor extravagance, and was but little acquainted with the real value of money, which he used only as a means for procuring the indispensable requirements of life ; it was only in his later years that signs of an anxious parsimony became apparent, without however interfe- fering with his natural bias for benevolent actions, s - J Whilsl half a world was echoing the praise and admiration of the gift'q'd Jartist, only a few were capable of honoring, to its full extent, his worth as a man. And why? because the greater number felt themselves repulsed by the rough shell, and could not perceive the soundness of the kernel within^ Beethoven might, however, have cheered his melancholy existence by marriage, had he not, as it seems, indulged in more than one illplaced platonic attachment ; the result was, as usual, disappointment, and this added strength to his constitutional misanthropy. He occasionally behaved to visitors and patrons with a degree of studied rudeness which had the appearance of acting a part ; indeed he well.^new the truth of the proverb : „trample upon mankind and they will fawn, upon you." He was a proud man, and evidently agreed with his favour- ite poet Goethe in belief of the adage „trust yourself, and others will trust you." — His extreme sensitiveness on some points degenerated into caprice, and frequently caused him to neglect the commonest rules of courtesy; e. g. he suddenly left the country-house of the Baron v. A , who had invited him to stay there for several months , because , as he said , „the Baron annOyed him with his excessive politeness, and he could not bear to be asked , every morning, if he were quite welll" But his friends pardoned all such eccentricities for the sake of his ge- nius and his many sterling qualities. * ? 23 THE WILL OF LUDWIG VAN BEETHOVEN, translated from the Original. (The legacies here mentioned were revoked by a codicil.) For my Brothers Carl and . . . Beethoven. ye who have long regarded me as morose, obdurate and misanthropical, how greatly have you wronged me ! You know not the hidden causes that produced the effects which you misconstrue. From my childhood upwards, my heart and mind have been open to the instincts of benevolence, and I have ever felt the longing to perform great actions ; but you must reflect that I have for six years been afflicted with a malady which , aggravated by want of skill in my physicians , has year after year disappointed my hopes of relief, and has at length grown into an evil, the cure of which may require years, and perhaps may never be effected at all. Born with a vivacious and ardent temperament, and alive to all the attractions of society, I was forced, in the prime of life, to shut myself out from the world, and live in solitude. Occasionally, when I try to brave my fate, and go into company, by what a bitter experience of my increasing deafness am I driven back again ! How can I say to people „Speak louder — louder yet — for I am deaf." Alas! how could I avow the total loss of a sense expected td be more perfeGf in me than in others, and which I once did possess in a degree of perfection en- joyed by very few? I could not do it. Therefore you must pardon me when you see me shrink from those scenes which I would most willingly enter. My misfortune grieves ine doubly, inasmuch as it subjects my actions to misin- terpretation. To me the charming recreations of society — its mutual outpourings Of mind — the free intercourse with refined natures — are all forbidden ; alone, and venturing among my fellow creatures no more than is absolutely necessary, I live like an outcast, for if I do venture into the world, it is only to suffer the intensest anxiety lest I should betray my condition. During my late residence in thetqountry, my excellent pliysician advised me to spare the injured organ as^much as possible , and I desired to comply with such advice , although, tempted by inclination , I suffered myself several times to be drawn into society. Judge then of my humiliation when I found 24 THE WILL OF LUDWIG VAN BEETHOVEN. a person near me , perhaps , listening to the distant notes of a flute , or the song of a shepherd boy , which I could not hear! such moments almost drove me to despair; little was wanting to make me put an end to life with my own hand. Art — she alone — she held me back — ! it seemed to me impossible to quit this world before I had accomplished all of which I felt myself capable, and therefore I preserved this unhappy life — truly deploring tha^sensilive frame, which any sudden impulse could reduce from extacy to despair. Patience — as it is called — her I must take for my guide, with a mournful hope of clinging to her till the Fates cut my thread of life. Per- haps I shall recover — perhaps not — I resolved in my twenty eighth year, to become a philosopher; it is not easy, and less so for an artist than for almost any one else. Eternal Being ! Thon seest my heart and knowest its inmost recesses — thou knowest that it cherishes love and benevolence for all mankind! Oh my friends, .when you shall read this, consider that you;* have greatly wronged me, and if there be one unhappy among you, let him be comforted by the reflection that there was another .Jjke him,- who, in spite of obstacles thrown in his way by nature, did all that in him lay to gain a place among distinguished artists and great men. Fintreat you, my brothers Charles and ... to request Professor Schmidt in my name, if he be still living, to describe my malady, and adding this paper to its history, to 'let the world at least be reeoneiled to me after death. I also here declare you joint heirs of my small property (if suoh it can be called). Share it honestly between you, and bear with and assist one another. Whatever wrong I have suffered at your hands, has, yau know, been long since forgiven. You, Charles, I thank most especially for the attachment you have lately shewn to me; I trust you will lead a better life and one more free from care than I have done. Bring up your children hi virtue ; that alone , and not wealth , can make us happy. I speak from experience when I say that virtSue- lifted me out of misery, and, next to my art, I have to thank virtue that I did not end life by suicide. Farewell ! love each other. To all friends I bequeath my thanks , especially to Prince . Lichnowsky and Professor Schmidt. I wish that Prince Lichnowsky's instruments should be retained, undivided , by one of you , but not to become the cause of any strife ; if however they can serve you to any useful purpose , sell them — I should like to be of servioe to you even in my grave. All is now set in., order ! I hasten gladly towards death; should he reach me before I have enjoyed full opportunity to develope my artist^pawff-s , I shall think he comes too soon — in spite of my hard fate — and wpf-for a little delay; but yet how blest will be the hour of release from a state of constant suffering ! Come when thou wilt, fth death, I shall meet thee courageously! Farewell, and LETTERS. 25 not entirely forget in death him who deserves to be remembered, for I have often thought of you and tried to make you happy ; may you ever be so ! Heiligenstadt , Oct. 6. 1802. Ludwig van Beethoven , m. p. (L. S.J '■ _§ P. S. — Thus do I take my leave of you, and a mournful ' " one. Yes , I must now abandon the hopes that I brought with me " & of being at least partially cured; — they now forsake me — as g2 . the leaves of autumn fade and fall from the trees , so have they o g fallen away. I return nearly as I came. Even the lightheadedness u § >, which came to me with the beauty of the summer days has va- ■g "a 9 nished. Providence ! vouchsafe me one bright day of joy ! long, « t> long is it, since the deepfelt echo of real joy has reached me. g jj when — when, Eternal Being, shall I feel it again in the temple £ o of nature and, of Humanity! never? no — it is too cruel I LETTERS written alternately to Mr. S. A. Steiner, and his partner Tobias Haslinger. No. 1. Well-born and worthy of high admiration G — t. *) We beg of you to change the 2 4 Ducats in gold according to yesterday's account received, and to send it to us either this, or tomorrow evening, when we will transmit and deliver the 24 Ducats at the same time. It would be very agreeable to me if your well-deserving Adjutant were to bring it to me, as I want much to speak to him. He must forget all grudge , like a Christian ; we acknowledge his services, and do not acknowledge that which he does not deserve. The long and the short of it is , we wish to see him. This evening. would be the most convenient to us. We are, most excel- lent G — t , your most devoted G — s. *)" It is necessary to explain that Beethoven styled himself playfully Generalis- simus (G — s) Herr Steimeb, General Lieutenant (G — a — t) and his partner at that time, Herr Tobias Has-linger, Gerusgal Adjutant (Ad — rl). The place of business was called the war office. *~; Beelhovcn , Sludie-s. 23 26 LETTERS. No. 2. To the high and well-born G — II — t Stbinek, for hisown hands. Notice. We have upon our own examination , and the hearing of our council, determined and resolved, from henceforth on all our works with German titles to Substitute the word Hammer-Clavier ^Hammer-harpsichord) for Pianoforte, ancl^ve charge our worthy Lieutenant General and Adjutants assembled, as well as all others whom it may concern , to carry out and put into execu- tion that which is here once for all decided. Given etc. etc. Jan. 23. 1817. from Head Quarters, G — s m. p. No. 3. Please let the Dedication stand thus : Sonata for the Pi a j&Sitf o rte or Hammer-Harpsichor^jt composed and dedicated to the Baroness Dorothea Ertmann, nee Graumann, by Ludwig van Beethoven. For the new Sonatas the title must be ready , so I make the following two proposals , namely , either I myself will pay for a new title , or it shall be reserved foe a new Sonata by me , for which the long purse of oujr trusty G— ;11 — t (gaudeat pleno titulo) and the first. State-Councillor must open, in order- to bring it into the light of day. A title should, above all things, be in a language which is well understood. Hammer- Clavier is thorough Ger- man ; without doubt the invention is also German ; honor where honor is due ! How is it then that I get no notice of the execution of the same? As ever, you servant, Amicus ad amicum I beg you will observe the most en- de amico . tire silence as to the dedication, that I ,_ . may make a sensation with it. Ad ju tant I LETTERS. 27 No. 4. We shall thank you kindly to send us two copies of the score of the Symphony in A — we also Wish to know when we can have a copy of the Sonata for the Baroness von Ertmann, as she leaves this, at farthest, the day after tomorrow. No. 3. namely a note, herewith enclosed, is from a musical friend in Silesia, who however is not rich, and has therefore copied music for me? he wishes to have these works of Mozart in his library, but as my servant has received from heaven the priviledge of being the greatest ass in the world (which is saying a great deal) , I cannot make any use of him in this matter. Be therefore so good as to send to Mr. ****(theG — s cannot enter into such an agreement with a small shopkeeper) and let me know how much they will cost, sending me this together with my two scores in A, and an answer to my questions about the Ertmann, today at the soonest (presto pres- tissimo). Pray spare me as much trouble as may be, for my health, just now, is none of the strongest. *1 L. van Beethoven m. p. The best possible fellow for the Good. — the Devil himself for — the Bad. No. 5. The G — t is requested- to send his familiar, to whom I may state my opinion regarding the Battle translated into real Turkish — it must be very much altered. G — s. No. 6. To Steiner and Co. The G — 11 — t of the Company has promised every assistance to the young Artist Booklet from Prague, who is a firstrate violinist. We hope that our introduction will be respected, as we are with the wildest devotion, Your's G— s. ~f-~ No. 7. To Mr. Tobias Haslinger. Adjutai^jifc My dear Mannikin ! Look after the little house once more , and I beg you earnestly to lend me the Treatise on Education. I am very desirous of being able to 23* 28 LETTERS. explain my ideas upon fhat subject to others , and to make myself clearly comprehended. With regard to the Adjutant I have (I believe) taken the right course in his education. — Your's Cont?a Fa. m. p. No. 8. For the -well-born Mr. Haslinger, member extraordinary of the courts of Graben and Paternoster Row.*) Very dear Printer and Engraver, Be to me the kindest of the kind , and let a hundred copies of this little plate be struck off. I will repay you double and three-fold for all printing and engraving. Farewell — Your's Beethoven m. p. No. 9. To the Editor. **) My dear and worthy Brother in Apollo ! My hearty thanks for the trouble you have given yourself about my humane work; and lam very glad that its success should be generally known. I hope you will never forget me if ever it should so happen that I am in a condition to serve you with my small means of so doing. The excellent committee is without doubt sufficiently informed ^jf my good wishes. But in order to testify this afresh we will consult together as friends in what manner they can best be served. When a patron like yourself takes an interest in us, our progress is never likely to halt. I am with the sincerest respect, your friend Beethoven m. p. *) The shop of Steiner and Co. was situated in a street called Paternoster Row, near the square called „the Graben." **) This was occasioned by my having given his grand festival-overture at a concert for the benefit of the city - hospital , and for which he received the written thanks of the Society and of the Committee of management. (Sey fried.) LETTERS. 29 No. 10. To the most celebrated musical firm in Europe, Steiner and Co. Paternoster Row. May I beg from the Geh' Bacer*) a few tickets for some of my friends who wish to go to this music-meeting — you have perhaps yourselves some of these same cards of admission ; if so , lend me one or two — Your The part belongs to the chorus Amicus in which Bauer is one of the singers. Beethoven m. p. No. H . To Mr. Haslinger, Adjutant etc. etc. May I beg of the Ad — rl to lend me the score of the Overture in E , I will return it as soon as the performance is over. I must beg you also to be good enough to lend me Kirnberger, in order to supply the place of my own book. I am instructing some one in Counterpoint , and my own manuscript upon this subject**) I am totally unable to find just now, among my wilder- ness of papers. I am yours Mi contra Fa. m. p. No. 12. To Tobias Adjutant. My dear Adjutant ! I have made a bet of ten florins that it is not true that you have been obliged to pay two thousand florins as a compensation to A oh account of the edition of the M works ; for I am surejhey must sell,, though printed over and over again. I wish to know the exact truth — I cannot be- lieve it possible. If it be the case, however, that this injustice has been done you, then „Oh dolce contehto" must pay down ten florins. Yours Beethoven m. p. *) A play on the name Gebader — which will not bear translation. **) The original Mss. of the work here given to the Public. 30 WRITTEN DIALOGUES, WRITTEN DIALOGUES *). • # Qu. Give me your advice — I have a white -washed room in my house , and some old tapestry with which I wish to hang it — painting is now out of date, and costs too much — where can I find a person to hang this tapestry (in one room) and what will be the expense? An. Painting is less oldfashioned and cheaps enough; your tapestry will become a resort for spiders ! Qu. What is the price of a large writing-table , such as are now made, with drawers, of soft or hard wood? An. They are readily to be had , of nut or cherry wood , costing about from 80 to \%0 florins. Qu. When can the Adjutant-general go with me to look at, and pur- chase one? , An. Tomorrow, after dinner. Qu. Has nothing been heard from Malzel? An. Nothing but the arrival of two boxes of Metronomes. Qu. Indeed? the newspapers will very soon trumpet that forth for the general edification. (Ha ! ha ! ha ! ha !) Qu. Can't you recommend me a tailor? Mine is a fool. This frock-coat fits me like a sack ; I look exactly as if I had stolen it ! f An. J'will send Mr. N. to you, who works fbr me. Qu.. Does he call himself an Artist in clothes ? An. No ; he remains true to the honest old German name for his craft. Qu. Does he produce strong and firm work? An. I have no doubt of it. Qu. My stupid hero of the goose cannot sew on even buttons properly. I have worn this jacket barely half a year, and five are already absent with- out leave. An. I hope my employe will be able to please you. *) When Beethoven entered a music-shop, a sheet of paper and a pencil were placed before him. He wrote down what he wished to know and the answers were written under his questions. From amongst these very droll silent tete a teles, a specimen is inserted here, selected as an original example of a new species of correspondence. WRITTEN DIALOGUES. 31 Qu. Is it true that Weber, the Director of the Conservatory at Prague, is arrived here with Pixis ? An. Yes ; and both of them wish to be allowed to visit you. Qu. It is not necessary — it would be difficult to manage. — I fancy they are really learned? An. It seems so , according to all accounts. Qu. It may well be believed. The Bohemian is a musician born ! It is very different with the Italians. What have they to show for all their renowned Consfervatorios ? If fortune had not endowed their idol Rossmi with a pretty talent, and showered down love-sick melodies upon him by scores , what he brought away with him from school would not have been enough to find his stomach in potatoes. (Ha ! ha ! ha ! ha !) Qu. Why had I not the proofs of the Trio yesterday? An. Because they are not yet ready. Qu. Why are they not ready? An. Because the Engraver was prevented from finishing them. Qu. Why was he prevented? An. Because we were obliged to employ him upon another pres- sing work. Qu. Why were you obliged to employ him upon anything else ? An. Because — because — because we have occasion for money. Qu. Money? Money? So have I occasion for money, and when I come to you for it, you never have any forme. — Money? Don't youfearn any by my labours? .;.. An. yes ! otherwise we should not be so desirous of possessing them , or make the important sacrifices which we do for the copyrights. In the meanwhile have patience only for a few days ; you shall then receive the last proof, and we will also have a handsome title-page prepared. Qu. Title-page? a handsome title-page ? if the contents are worth no- thing, I would not give a rush for the. most beautiful title-page in the world. Have you any fresh Leipsic newspapers for me ? An. None , but the one which we have already sent you ; last week's. Qu. So ? It is not yet come to hand. — N'importa niente. Since Roch- litz laid down the baton of command , I find little in them to interest me. But why don't 1 see any customers here today? An. Because the gay world likes better to lounge away the morning at the Carnival, than to spend it in buying music. 32 JUDICIAL INVENTARY AND VALUATION Qu. In buying Music? „there's the rub!'' why do you sell any- thing but trashy music? Why have you not long ago followed my well- intended advice? Be for once prudent, and come to reason. Get rid of your hundred weight of reams of paper , real Ratisbon — let that heavy article of sale float down the Danube , and set up a sort of grocer's business , where you retail victuals and drink at a cheap rate. Invite the hungry and thirsty with a placard in letters of a yard long over your door, „Musical Beer shop !" and you will have so many customers at all hours of the day, that there will be a regular crush to get in, and your rooms will never be empty. (Ha! ha! ha! ha!) JUDICIAL INYENTARY AND VALUATION, (dated 16. August 1827) of the Music and Books in the Schwarzspanier -house in the suburbs , taken on the spot , as left and bequeathed by the deceased Composer LUDWIG VAN BEETHOVEK. Present: Brandstaetter (Ferdinand) Secretary of the Magistrates. von Ortowitz (Francis) Commissary of Police. Ohmeyer, as deputy for Dr. Bach, Trustee. Hotschevar (Jacob) Guardian of public Archives. ■-&' Strangers, present by special invitation: Czerny (Charles) Composer and chosen witness. Piri'nger (Ferdinand) k. k. Registrar, Director., clerk of the Exchequer. Haslinger (Tobias) Licensed Artist and Music-Seller. and the two Treasurers: Artaria (Dominik) Licensed Engraver and Music-Seller. Saleb (Ignatius). 50 books of manuscript music, sketches etc. Text Of Fidelio. JUDICIAL INVENTARY AND VALUATION. 35 No. Sketches for use, Fragments etc. incomplete works, not yet printed, and autograph. 52. Quartett Sketches. No. 63. Sketches for Masses. 53. Sketches. n 64. Quart. Sketches and Small 54. Quartelt Sketches. pieces. 55. Pieces and Sketches. a 65. Sketch for a Pianoforte 56. Complete Sketches. Concerto. 57. Quartelt Sketches. n 66. Bagatelles. 58. Hal. Ariettes. a 67. Song with Orchestral Ac- 59. Sketch for a Quartett. compts. 60. Sketches for use. n 68. Song. 61. Copy of Ihe Trio No. 4 . a 69. Sestett. 62. Copy of the Trio No. 2. a 70. Original Songs. Autograph Manuscripts of printed and well known works. No. 71. 72. Sonata for the Pianoforte. MS. (published by Sim- No. 91 rock.) ;/ 92 " 73. Trios for the Pianoforte. Op. 70. No. 1 and 2. ii 93 94 ft 74. Song. (To Hope.) it 95 tt 75. Song — The Nightingale. ii 96 It 76. Scotch Songs. ii 97 " 77. Quartett — pub. by Schott. ii 98 II 78. // •i 99 It 79. // n 100 u 80. Finale to the Pastoral Sym- a 101 phony. li 102 tl 81. First movement of Sym- phony No. 4. n 103 It 82. Piece from the Opera of ii 104 Fidelio. it 405 It 83. Evening-Song. ii 106 It 84. A Fugue in four parts. It 85. Fantasia-Sonata. il 407 It 86. Sonata for the Pianoforte n 108 and Violin. ii 109 tt 87. Kyrie from the 1 . Mass. it 110. it 88. March from Fidelio. ' ,ii 111 « 89. Concerto in E for the Pia- ii 442 noforte. ii 113 tt 90. Variations for the Pianof. a 444. Sonata for Pianoforte and Velio. 54. Sonata for Pianoforte. Romance for Violin. Quartett. // Pieces from Leonore. 4. Symphony in Parts. Scotch Songs. Songs. (Lieder.) Hymn. Sonata for Pianoforte. Quartett. „. Christ on the mount of Olives (Oratorio). . Gloria from 4 . Mass. ; Symphony No. 5. Andante in the Past. Sym- phony. Bagatelles for Pianoforte. Finale to Concerto in E. Pastoral Overture. Quintett for slringed instr. Pieces from Egmont. Quartett. Symphony in parts. Fugue. 54 JUDICIAL INVENTARY AND VALUATION. No. 115. Coneerto for Pianof. in C. 116. Concerto in A for Pianof. 117. Fragment of a Quartett. ' 118. " Finale for a Qnartett. 119. Quartett. 120. Sonata for Pianoforte. 121 . Variations for Pianoforte. 122. Septett in parts. 123. Quartett. 124. Sonata for Pianoforte. 1 25. Concerto No. 2. for Pianof. 126. Mass. No. 2. in parts. 127. Quartett. 128. Song to Chloe. (Lied.) 129. Finale to Leonore. 130. Quarletls. 131. 2 Songs. 132. Agnus Dei. 133. Songs fr. Gellert. ) Ljeder 134. Songs fr. Goethe. 1 No. 135. Sonalas for Pianoforte. 136. Sonatas for Pianoforte and Violin. 137. Entr'act to Egmont. 138. Sonata for Pianoforte and Velio. 139. Quintett in E. 140.. Sonata for Pianoforte and Violin. 141. Sonata for Pianoforte. 142. The Song of (be quail. 143. Chorus, ,,Good news." By another hand (not autograph.) No. 144. Sinfonia Eroica. » 145. Overture to Egmont. it 146. Chorus from ,,the Ruins of Athens." it 147. March from Tarpeia. a 148. Fantasia and Chorus. Original Manuscripts chiefly completed and autograph, not printed and as yet unknown, by Lddwig van Beethoven. Fragments of Trio for Pia- noforte. Cadenza for a Pianoforte Concerto. March for military band. 2 Songs. (Lieder.) The Ruins of Athens. Sketch for a Quartett. 3 Compositions for Pianof. 2 Viol. 2 Velio. Vocal Music. Scenas and Arie. (Hal.) King Stephan (Overture). Collection of Compositions (unknown). Fugue for a Pianof. Cone. *) Bought by Mr. Haslinger and entrusted for publication to the Chevalier von Setfrieo — translated in this volume. No. 149. Treatise on Counterpoint 5 large packets*). No. 160. « 150. Song with Orchestral Ac- it 161. *VH"151. .compts. Italian Songs. it 162. 4?f<52. Violin-Quintett. it 163. it'-*'- 153. The first kiss. a 164. » 154. Ital. Duett. n 165. » 155. Canon and 4 part Song. a 166^ » 156. Songs. (Lieder.) it 1 57. Piece for Pianoforte com- •t 167. posed in his youth. a 168. •> 158. Songs and compositions for a 169. the Church. n 170. it 1 59. Military music, fragmen- tary. . , it 171. .it- JUDICIAL INVENTARY AND VALUATION. 35 No. 4 72. Compositions for Pianof. No. 481. Minuets for an Orchestra. 173. Fragment of a Quintett for Viol, dato Nov. 1 826 . Beet- It 182. Composition for a Violin Concerto. hoven's last work. 4 H 183. Song. (Lied.) 174. Canon for four voices. II 184. Pianoforte lesson with Ac 175. Trifles. conipts. 176. Trifles for Pianoforte. „ 485. Caprice for Pianoforte. 477. Rondo for Pianoforte and II 486. „Sehnsucht." (a Song.) Orchestra. It 487. Aria with Pf. Accompts. 178. Marches for an Orchestra. ,i 488. Song with full Accompts. 179. Trio for Pf. Fl. and Fag. n 489. Symphony by Haydn. 180. Orches. piece with Chorus. '-- ! } 5. No. 490. 494. 192. 193. 194. Symphony No. 9. Christ on the m Olives- Symphony No. 7. Song (Lied) to Joy. Wellington's Vi toria, Symph. Parts C opied - No. 195. Overture to Leonore. ount of if 196. Festival Overture. a 197. 2 Symphonies.' " 198. Masses. u 199. Dances and Marches •yatVit- Copied Music by different Masters. No. 200. Madrigals of Lughini. 201. 18 different pieces. " 202. Paer's Leonore. Score. a 203. Violin-Quartett. " 204. Reuter's Parnassus. a 205. 24 different Pieces, » 206. 12 i/ » w 207. Bach's Art of^Fugue. a 208. 17 different Pieces. No. 209. 210. 211. 212. 213. 214. 215. 216. Symphony in B. Cherubini'sFaniska, Score. 21 different Pieces. Beethoven's Fidelio. An Overture by Haydn. Concerto in C. mit cor- rections. 15 different pieces. Mozart'sZauberflbte.Score. 6. Printed Music. ,,Vittoria" No. 217. Beethoven's Score. a 218. Beethoven's ,,Vittoria" Score. " 249. Beethoven's Mass. " 220. 4 8 different pieces. No. 221. Handel'sMessiah and Mo- zart's Requiem in Score. " 222. Beethoven's Christus. a 223. // Symph. 4, 2. " 224. Haydn's Creation. » 226. Beethoven's Fidelio, P. Tr. 36 OFFICIAL ANNOUNCEMENT. No. 227. Mozart's Don Juan, Score. 228. Mozart's Cosi fan tulle. 229. Beethoven's ,,Christus," Score. Reicha's 36 Fugues, Cherubim's Medea. Mozart's Titus , Score. Haydn's Seasons, Score. Salieri's Danaides. The mount of Olives. (Eng- lish). Mozart's Quartelts. Mehul's Valentine , Score. a33.pBeethoven'sLeonore. P. F. , Score. Beethoven's Cbristus. 234. Beethoven's Choral Symph. Symphony No. 9. Score. 230. 234. ■# No. 235. 236. 237. 238. 239. 240. 241. 242. 243. 244. 245. 246. Musical Books. No. 247. Knecht's Organ School. Bach's Art of Pianoforte playing. a 248. Musical Journals. // 249. Camphuisen's Collection of Songs. Riepel's Harmony, Counterpoint, and Com- position. Bach , Art of the Fugue. G. F. Handel's Harpsi- chord-Music. Beethoven's Symph. No. 9. Paisiello's laServapadrone. Handel's works in 48 vo- lumes. Handel's Julius CSsar. Alexander's Feast. Chorusses and Ora- torios. 250. Kirnberger's works. Koch's Harmony. Vogler's Choral- system. Albrechtsberger on Composition. 251 . Work by Haydn on Score. 252. Marburg's Treatise on Fugue. OFFICIAL ANNOUNCEMENT. It is made known through the present edict by the Magistrate of the Capital and Imperial City of Vienna: In the next following public sale, the property left by the deceased Musical Composer Lijdwig van Beethoven will be sold by auction : viz. his private library of Music , including — Sketches — Fragments — Unfinished works in autograph and not yet printed — Autograph Manuscripts of works already published — Partly-finished and autograph unprinted original Manuscripts of Beethoven , Manuscript parts to Beethoven's works, — Manuscript Music of various composers — printed Music, Musical books — various other books — an English pianoforte of which the Testator made use up td the time of his death — two violins — finally a gold medal, valued at about forty ducats, will be sold. to the highest bidder, on the 5. of November and the following days, at the usual hours in AGREEMENT. 57 the morning and afternoon, in the vegetable-market of this city, at the house No. ii 49 second floor, left-hand staircase. Vienna, Sept. 7. 1827. (After the sale of these effects the following advertisement was issued by Mr. Haslinger. The valuation does not seem to have been made public.) „The original documents from which these papers and letters are prin- ted lie ready for inspection at Mr. Haslinger's residence, who possesses also a complete list of those to whom the property sold at the auction was '.con- signed , and is" prepared to give answers to any verbal enquiries on the subject." AGREEMENT. (Stamped.) The daily proofs which Ludwig van Beethoven gives of his extraordi- nary talent and genius as an Artist and Composer, excite the desire that he should fulfil the great expectations which the present experience of his powers would seem to warrant. As, however, we are well aware that no one can effectually devote himself to Art, or produce works of importance, who is not comparatively free from care and secured from indigence ; we the undersigned have come to the resolution- of placing Ludwig van Beethoven in such a position that poverty shall not cramp or interfere* with his powerful genius. To this end we bind ourselves to pay him annually the sum of four thousand florins:*) as below. Signed His Imperial Highness the Archduke Rudolph fl. 1500 His Grace Prince Lobkowitz „ 700 His Grace Prince" Ferdinand Kinskt , 1800 Total . . „ 4000, which pension Ludwig van Beethoven is to receive in half-yearly payments, in proportion to the sum given by each of the high contracting parties. The Undersigned are also prepared to continue this annuity until Ludwig van Beethoven shall have obtained an appointment which shall secure to him an equivalent for the above-named sum. *) About 160 £, which in proportion to the then cheap rate of living at Vienna was equal to 300 £ in England. 38 BAPTISMAL REGISTRY. Should no such appointment be offered, and should Ludwig van Beethoven be incapacitated through misfortune or old age from pursuing his art , the contracting parties are willing to pay this annuity during his life.* On 'his part Ludwig van Beethoven promises to fix his residence in Vienna , where the high contracting parties to this document reside, or in some other city within the dominions of his Imperial Majesty, and to leave this residence only at such periods as business, or the interests of his, art shall require it; of which absences, however, the high contracting parties shall be informed, and to which.they shall previously agree. Given at Vienna 1. March 1809. (L. S.) Rudolph, Archduke. (L. S.) Prince von Lobkowitz, Duke of Raudnitz. (L. S.) Ferdinand , Prince Kinsky. BAPTISMAL REGISTRY. (Stamped.) Government District of Cologne. ^^ (Stamped.) Circle of Bonn. Head-Burgomaster's office, Bonn. Extract from the Parish Register of St. Remy in Bonn. Witnessed before the Head- Burgomaster of Bonn. Anno Milletoimo Septingeniesimo Septuagesimo, die decima septima Decem- tris baptizatus est Ludovicus , Domini Joannis van Beethoven , et Helenae Ke- verichs , cbnjugum filius legitimus , Patrini Dominus Ludovicus van Beethoven, et Gertirudis Mutters, dicta Baums. A correct copy. Bonn, 2. of July 1827. Head-Burgomaster, ■° (L: S.) Windeck. The above signature of Mr. Windeck, Head-Burgomaster in Bonn , was seen and witnessed by us. Cologne, S. July 1827. President of the Court of Justice. For the same : * • '»fe President of the Council, *>te{L. S.J Peltzer. Secretary to the Court of Justice, Thurn. THE FUNERAL. 59 The signature, on the other side, of Mr. Peltzer, President of the Council of his Prussian Majesty's Court of Justice , is avouched. Cologne, 5. July 1827. First President of the Senate of the t l< Rhenish Court of Appeal , Coun- cillor of Justice. (L. S.) Signature (wholly illegible). Chief Secretary, J. Therrer. THE FUNERAL. With an account of the compositions performed on that occasion. (This is inserted here because several of the public papers contained erroneous and imperfect statements of the ceremony.) As the public funeral of Beethoven had been made very generally known to his friends and admirers, who sent out numerous printed cards of invitation for the afternoon of the 29. of March 1 827, an immense assem- blage of spectators and mourners gathered at the house of the deceased, on the ramparts beyond the Schottenthor gate at the Schwarzspqnier-house ; the mourners were dressed in black, wearing, mourning-gloves, and crape on the left arm; At three clock the Body was bome into the court by eight members of the orchestra of the Court-Theatre, Mess. Eichberger, Schuster, Cramolini, Ad. Mueller, Hofmann, Rupprecht, YoRscHiTZKY^nd Ant. Wranitzky , who had offered themselves as Bearers. The Clergy made their appearance half an hour later, and after they had prayed over the' mortal remains , the Vocalists above-named sang a sacred chorale by B. A. Weber ; the whole procession then moved forward in the following order : 1. The Cross-Bearer. — 2. Four Trombone-players, the brothers Boeck, Messrs. Weidl and Tuschky. — 3. The Chorus Master M. AssMayer, under whose direction — i. a Chorus consisting of Messrs. Tietze, Schnitzer, Gross, Sykora, Fruehwald, GeissleI, Rathmayer, Kokrement, Fuchs, Nejebse, .Ziegler, Pehschl, Leidl , Weinkopf, Pfeiffer , and Seipelt, performed the „Miserere" alternately with the four trombones. - This moving orchestra was immediately followed by: — 5. the Clergy. — 6. the richly ornamented coffin , borne by the gentleman of the Opera 40 THE FUNERAL. already named, and surrounded by the Chapel-Masters Eybler, Hummel, Seyfried, and Kreutzeb, on the right; Weigl, Gyrowetz, Gaensbacher, and Wuerfel on the left ; who wore knots of white ribbon suspended from their mourning scarfs. — 7. On both sides of ^he procession, from the extreme end of it as far back as the coffin, were 36 Torchbearers selected from amongst the friends of art, poets, authors, composers, actors, and musicians, numbering among them Messrs. Anschuetz, Bernard, Jos. Boehm, Castelli, Chas. Czerny, Sigr. David, Grillparzer, Conr. Graf, Gruenbaum, Haslinger, Hildebrand, Holz, Katter , Krall , Sigr. Lablache , Baron Lannoy, Linke, Mayseder, M. Meric, Merk, Mechetti, Meier, Sigr. Paccim, Piringer, Ra- dicchi, Raimund, Riotte, Schoberlechner, Schubert, Schic'kh, Schmidl, Strei- cher, Schuppanzigh, Steiner, Weidmann, Wolfmayer etc. etc., all in mour- ning dresses with white roses and branches of lilies passed through the crape on their left arms , and carrying lighted wax torches. Besides these, many other distinguished persons were to be seen moving along with the slowly progressing throng. The Privy Councillors von Mosel and Breuning, (the latter being an early friend of the Deceased, and his Executor) Beethoven's Brothers , and still farther in the distance the pupils of the Conservatorio and those of the St. Anna School for Thorough Bass ; Chapel-Master Drechsler, etc. etc. All mourning together over a loss, which was felti to be irremediable in the world of Art. -*?". Arrived at the Church, the sixteen Singers already named performed, during the Blessing , the Libera me Domine de morte aeterna , composed by Chapel-Master *on Seyfried , for four voices, with an orchestral accompt. Upon this occasion, however, it was necessarily arranged for four male voices alone , alia capella. As the State-hearse, drawn by four horses , proceeded towards the Bu- rial ground of Wahring, 'it was followed by several equipages from the line. In the Burial-ground an oration in honour of the departed, written by Grill- parzer, was delivered by Anschuetz the Court- Actor, surrounded by a circle of sympathising friends. Baron von Schlechta and Mr. Castelli addressed a short but very interesting poem to the mournful assembly, and before the grave was filled up, Mr. Haslinger presented three hurel wreaths to the gene- rous-hearted Composer Hummel, who stood by his side, and Who laid them r upon the coffin. Those friends who were most interested remained till the >#- turf was smoothed over the coffin. «.» <. Both the above-named compositions — the Miserere and the Libera were performed in the Church of the Augustines on the occasion of mass being said for the soul of Ludwig van Beethoven — on the 3. of April.Mo- zart's Requiem was performed in memory of the illustrious dead , and on THE FUNERAL. 41 the 26. of the same month Cherubini's Requiem Was given by Ale society of the Friends of Music, in compliance with the general wish; while the duties of the Roman Catholic Clergy were repeated at the catafalque when the Requiem was concluded. The well-known but interesting story connected with the Miserere is as follows. While Ludwig van Beethoven was visiting his brother who was sett- led as an apothecary at Linz, in the autumn of the year 1812, the Chapel- Master of the Cathedral there, Mr. Gloeggl, begged him, as a matter of friendship, to. compose this movement for four trombones, in orderthat some of his music might be performed there on every anniversary of All-Soul's- day. Beethoven assented readily; he wrote for the purpose three pieces, which though short, display throughout the hand of the master; the Chev. I. von Seyfbied was afterwards so fortunate as to enrich an already inval- uable collection of autographs of the great composer with the original Ma- nuscript of this work. On the morning of the 26. of March 1 827 , when no hope remained of averting the threatened loss, Mr. Hasunger carried this manuscript to Cha- pel-Master von Seyfried , in order to consider with him the possibility of arranging it as a vocal chorus to the words of the Miserere , and thus to lay the earthly remains of our Musical Chief to rest amid the tragic echoes of one of ' his own creations. Seyfried , though painfully affected by the occasion , determined to attempt- the task , and set to work without delay. It was finished during the following night. This composition was therefore made use of in a double form : the piece was first performed, in the original key., by four trombones soli, and then repeated (transposed a tone lower) by the 1 6 singers , with the words ad- apted to it, viz. those from the penitential psalm Miserere mei Dens , f which was chanted in alternate stanzas, while the oprpse was carried into the church. Beethoven, {Studies. 2 i "■3 er CD 3 a ffi. a" 9J ,* j«* t—i 3- 3 3 CD O 3- '" >-> efc CD S Cl CD M o H B B J 3 8" =' c? TO ™ 1 er i_ ' — - CD «s er '. ^S* :>< *< P3 eo -s'is S 3 tH £2 5 •5 •a o 5' CD C. o 5 Si CD (0 -■ Q. 3 5" £ Si- ft O OS O 9 Co 3 g5 & CB SO ' o pi & 9 ft e 5" 1 er CD o er en CD g. 3° (71 er 3. B 09 "5 CD . a CD sr CD CL & CD ~^ i— i i s er S. §. S" I' § * ST" to Co TO 1 s 3 o c O s > **• TO 1 O e CD C5 TO O " C5 CD O B B- Cl> us CO o is CD i— i S3 a ■ «*■ § i. O CD cd a §■ 3 'TO TO t3 % •-f W ° P* £> er CD CD EC s> a- St* o E» « O m 3 e i 3 a ft-. CD o 13 a CD a o » o » 3 CD B . Poet of Sound on s of dropsy , in the CQ TO 1 O TO o TO &■ e -4 Sr* O TO TO TO a- to r i •3 a g o er s. 00 o o IT* B" er w o CP > a, 3 cd f 1 •< (7) < CD » 3 135 CD CD- . S3" TO CD CD H o T o o o g Cft o V. OB B "".3 p p CD CD TO et & SB o 3 er ■*■ a. o «3 a> qo TO t* hS •n CD B •a> .j o o CD c OB OS o o" C5 3' « ADTOPSY. 45 Beethoven having expressed a wish that the cause of his deafness might be investigated , it may not be out of place to give a detailed account of the post mortem examination which was undertaken by Dr. Jos. Wagner, at the house of the Deceased, in presence of Professor Wawruch, M. D. — the principal results were as follows. The external ear was large and regularly formed, the scaphoid fossa , but more especially the concha, was very spacious and half as large again as usual; the va- rious angles and sinuosities were strongly marked. The external auditory canal was covered with shining scales , particularly in the vicinity of the tympanum , which was concealed by them. The Eustachian tube was much thickened , its mucous li- ning swollen and somewhat contracted about the osseous portion of the tube. In front of its orifice and towards the tonsils some dimpled scars were observable. The principal cells of the Mastoid process , which was large and not marked by any notch, were lined with a vascular mucous membrane. The whole substance of the Os petrosum shewed a' similar degree of vascularity, being traversed by vessels of considerable size, more particularly in the region of the cochlea, the membranous part of its spinal lamina appearing slightly reddened. The facial nerves were of unusual thickness , the auditory nerves , on the con- trary , were shrivelled and destitute of neurina ; the accompanying arteries were dilated to more Jihan the size of a crowquill , and cartilaginous. The left auditory nerve, much the thinnest, arose by three very thin greyish striae, the right by one strong clear-white stria from the substance of the fourth ventricle , which was at this point much more consistent and vascular than in other parts. The convolutions of the brain were full of water , and remarkably white ; they appeared very much deeper, wider, and more numerous than ordinary. The Calvarium exhibited throughout great density and a thickness amounting to about half an inch. The cavity of the Chest, together wilh the organs within it, was in the normal condition. In the cavity of the Abdomen four quarts of a greyish-brown turbid fluid were effused. < The Liver appeared shrunk up to half its proper volume, of a leathery consis- tence and greenish-blue colour, and was beset with knots, the size of a bean, on its tuberculated surface, as well as in its substance; all its vessels were very much narrowed, and bloodless. The Gall-bladder contained a dark-brown fluid , besides an abundance of gra- velly sediment. ^ The Spleen was found to be more than double its proper size , dark-coloured, and firm. f The Pancreas was equally hard and firm, its excretory duct being as wide as a goosequill. The Stomach , together with the Bowels , was greatly distended with air. Both Kidneys were invested by cellular membrane of an inch thick , and- infiltrated with 24* 44 NECROLOGUE. a brown turbid fluid ; their tissue was pale-red and opened out. Every one of their calices was occupied by a calcareous concretion of a wart-like shape and as large as a split-pea. The body was much emaciated. (Signed.) Dr. Joseph Wagneh, Assistant in the Pathological Museum. The following article is translated from the Leipsic Univ. Mus. Journal of 28. March, 1827, as a favourable specimen of warm but not extravagant panegyric. -• -?p- -■ ■ Beethoven is no more! I have just received the news of his death from one of his most intimate friends in Vienna. On the 26. of March, at sunset, Beethoven's great and powerful spirit freed itself from the earthly tenement which had in many respects proved so burdensome to him that he must have succumbed — and in his latter years 'have been lost to Art — had not his innate energy, his perseverance, and philosophic patience offered successful resistance to the foe. He had reached his fifty— fifth year. The voice of lament for his loss will be heard as far as the influence of Music extends, and long, long will its echoes be repeated ! His compositions are the greatest, " the most multifarious, the most original that modern instrumental music pos- sesses ; the flights of his genius are the boldest and the loftiest that have been attempted in our time. He surpasses all his rivals as an Inventor, for manifold as are his works, he bas disdained to reproduce his own ideas; he is ever found treading a new path, widening the sphere of his imagination, and penetrating yet deeper into the mysterious regions where Fancy reigns supreme. He was not to be restrained by the reflection that few would compre- hend him at first — he even risked the. chance of failure; but his eye was not to be diverted from the bright star that shone above him and controlled his destiny. Wherever his greatest thoughts and highest efforts are not ap- preciated, it is because the Few, that are capable of following his eagle flight, are absent; when they are present, their influence will certainly be felt, and they will guide the public in its judgment. These noble Few will increase, and so will the circle of Beetjhoven's fame grow wider and wider. Those who are intellectual enough to grasp his ideas, and enjoy them, will love his works in proportion to their knowledge of them. For a long time past he has maintained such a position among his competitors , that no one thought of disputing the sovereignty with him upon those points on which he grounded his peculiar claims to distinction. The strong avoided the contest, the weak fell before hiro in the vain attempt at competition. 'Those who in the earlier NECROLOGUE. 45 part of his career unadvisedly ridiculed or underrated him have long since repented their folly, and hide their shame in the obscurity which was their . proper element. With a rare devotion did this true Poet of Sound turn the whole of his natural and acquired powers to the service of Art, for which he was created. He had no other aim or desire in life than to be a great Artist. Neither wealth nor the tranquil joys of the household affections were his ; Art was to him both wife and child. He did not understand the world , and , for the last fifteen years of his life, could not even hear men speak; in propor- tion as the intercourse which he held with them diminished, so did he be- come more and» more incomprehensible to them , except thro' the medium of his music. Cut off from society by the loss of his hearing, he constructed a world for himself out of sounds, not heard but felt. In this mystic sphere he lived; a wondrous-proof of the power of Mind over hostile circumstances, and of the certainty with which success may be commanded by the union of talent with strong will and manly determination. His motto was „press for- ward," and at every stage of his progress he left some worthy memorial be- hind him I Nor did his affliction serve with him as a constant source of com- plaint ; as he went on, still producing fresh creations , he looked not always at the dark side of his fate, but praised the Mighty Bestower of genius for so glorious a gift. How many days , that would otherwise have passed^in grief and bitterness , were solaced by the gracious Muse ! We feel our irre- parable loss as a nation, but let us rejoice that Beethoven's work.s remain to us, an heir-loom for ever. They will form a bright page in the history of Art, 'inasmuch as he gave us in them a true index of the period in which he lived ; and he himself, in his own individuality, made that period and its his- tory. His fame is built upon a sure foundation." The following is a literal translation of the stanza written by Grillparzer to the choral Melody in D {,,Du , dem nie im Leben," etc.) which was sung at Beethoven's funeral. 1 Thou, to whom life vouchsafed nor home nor rest, Sleepest at length in peace and quiet gloom ; 0, if our hymn can reach thy spirit bhf&t, -■• List to thine own sweet song , within the tomb ! > ELEGIES. STANZAS READ OVER THE GRAVE OF BEETHOVEN. March 29. 1827. by Francis, Baron Schlechta. Forth from a rock a fountain broke , and rife With quick'ning power spread o'er the thirsty plain ; Where'er it flowed it left the seeds of life, And turn'd old nature into youth again : • — All throng'd around th' enchanted spot, to crave A bountiful refreshment from the wave. A few there be , of deeper-searching mind, Who drink delighted of that wondrous stream*: Others admire to see it gently wind, ' And Sol's bright rays upon its surface gleam ; Others a common rill the fount declare, Less marvellous than some , and far less fair ! The fountain sank ! then first the giddy throng With shame and grief its tardy homage paid ; And zealous Art, with emulative song, Pour'd in the praise long earn'd and long delay'd : ■"?. Alas , no sigh , no tender-plaintive lay Can bring the vanish'd fountain back to day ! • Thou , lost One , from thy mortal fetters freed, Thou wert the fountain , and its power thine own; Thine was the magic volume few could read, And less could understand ; n o w thou art known. Now every tongue its high-wrought praise would give Exulting — and thou must have died , to live ! LINES ON BEETHOVEN, written by J. G. Seidl and recited by Anschtetz at the Concert spirituel in Vienna, May 3, (827. Sounds were his colours , and the human heart The canvass upon which with highest art He drew his image — shrouded oft in sadness, And sometimes bright with more than mortal gladness. ELEGIES. 47 LINES BY J. F. CASTELLI, spoken at Beethoven's funeral. The worshipp'd Muse halh called him to the skies, And yonder, at her side, those harmonies That sprang from his deep mind , salute his ear ; — Strains which on earth he was forbid to hear ! *) TO THE SHADE OF BEETHOVEN, Impromptu by De la Motte Fouque. Thou Master-spirit, often hath my soul Thirsted to pour forth song for song with thee, Since first th' enigma of thy being stole In all the varied forms of melody O'er my enraptured senses ! — by thy tomb Despairing I should stand , and lasting gloom Were mine , but that I trust we yet may sing Together 'mid the roses of Heaven's spring. (For these literal and elegant translations I am indebted to the kindness of a friend.) P. EPITAPHS BY J. GABRIEL SEIDL. Ludovipo . Van . Beethoven . -■! Cujus . Ad . Triste . Mortis . Nuncium . Omnes . Flevere . Gentes . Plaudente . Coelitum . Choro . IN TUMULUM LUDOVICI VAN BEETHOVEN. Fa to mortalis; vita bonus; arte perennis, Morte suum moriens eximit ipse decus. *) Alluding particularly to the Mass in D , and the Sinfonia No. 9 , which were composed at the time when Beethoven's deafness had reached its climax. BEETHOVEN'S MONUMENT AT BONN. Part of this appendix is translated from the German edition , but I have added , in compliance with a request of the publisher's , some remarks upon B's indi- vidual character, and a brief summary of my own opinions regarding his works. P.) If we would convey to our readers a correct idea of Beethoven's deep and permanent influence upon the musical world of Europe, we must record the history of his monument — for in that speaks the voice of posterity, the justice of which can hardly be questioned. The Charlatan , the wealthy or fashionable Artist, the Favourite of the public for a brief space, — wili often, through a variety of means , retain his position ; not "indeed for any great length of time, but long enough to deceive shallow observers, and, alas ! long enough to keep back the man of real genius and real claims. Works of little intrinsic value may eren please an enlightened public for a while; the sterling gold may be so ingeniously imitated as to pass muster even with good judges — till a closer examination , a more unerring eye is brought to bear upon it; then the counterfeit is exposed. It may happen that a great Artist (because he disdains to aggrandize himself by seeking to bring his name and works continually before the-public) has here and there given offence; perhaps' he omits to flatter a patron, perhaps to visit and cajole a venomous critic : — for such or similar reasons the PoefcArtist may remain for a time in obscurity, and be undervalued, while those far less gifted, but more^skilled in the tricks of self- advancement, may be as much over- prized : — *„Tis an old tale, and often told." But from posterity, where the Artist's individuality and the capricious taste of the age no longer come into play; — from posterity alone does the Artist receive the full meed of justice , neither too much blame nor too much praise. It should, however, be remarked that this perfect balance of arbitration is not always to be found immediately after the event of the great man's death , whether he be Hero, Statesman, Poet, or Artist: — some farther Japse of fce is generally required to fix an unerring standard of his claims. His departure from the world is not unfrequently the signal for an outburst of enthusiasm which as palpably overrates his me- ritS/and abilities as the envy of his contemporaries had, perhaps, depreciated them. Dearti is a mighty. reconciler, says Schiller; and in forgetting their enmities men are apt to exaggerate the virtues to which they were once blind. But if nearly twenty years pass , and this enthusiasm remains unaba- ted; r— should Posterity then think fit to grant such ai monument as that -,«, ; BEETHOVEN'S MONUMENT AT BONN. 49 of Beethoven at Bonn — there can be little doubt of its justice !.-*) Many a Poet and Composer ,' dying prematurely and in the zenith of his reputation, has been deified by fanatic admirers for a time; but such fame is not lasting, and the false'glitter cannot stand the test of years. This truth has been exem- plified in the case of more than one modern celebrity, and in our own day we might perhaps discover an instance of it. We are „fallen on evil days," when fame is bought and sold, and is purchaseable at a certain price, of Co- teries and Journalists ; the Public being, for a while, too phlegmatic or too timid to exert its own prerogative of decision. We see anonymous critics, whose ignorance and malice are legible'! in every line of their unnecessary scribblings, even daring to dispute the judgment of the Public , and declare it null and void ! This is a height of presumption , a rank abuse of the power of the press, which seems to call loudly for the interference of a Censor: — for why should a mendacious attack upon private character be visited by the law, if the gross disparagement of works of Genius be permitted? which is the greater libel of the two ? in both cases the falsehood is sure to be expo- sed sooner or later; but" who shall calculate the evil that may have been done in the mean while ? the grievous wrongs inflicted by detraction are but ill recompensed by future fame. „Geniusisthe intuition of truth," says Lavater ; what wonder, then, that it should excite the, spleen of vulgar minds, such as hate truth , and whose only intuition is that of lying and slande- ring? — Beethoven had^many adversaries during his life ; some of them even went so far as to compare the bold flights of his imagination with the inco- herencies of delirium — his music was called extravagant, bombastic , far- fetched, obscure, preposterous]* difficult of execution, utterly unvocal, etc He was recommended by some critics to study the works of defunct masters, and rather to aim at a successful imitation of them than to cherish the vain hope of seeing his own crazy phantasies admired by the public. Those who belonged to the old pedantic school of criticism blamed him for infringing the rules of counterpoint ; others condemned his irregular rhythm , his broken cadences, sudden transitions, and unheard-of modulations ! others complained that his works were sadly deficient in melo mj - se - re-re me - i se- cun, Quel le, aeh, er-barme, Scho pfer, du Born derDursten- mm- -(« — i" — (■- 22= 30=E De Quel us , le, mt - se - re-re me t ach, er-barme, Scho pfer, m ey p" ■*r -#• s _£_. SE 35; §* laj..>_ =s£ Beethoven, Studies. 29 38 fc^Efei w^WZ THE HYMNS. ± 5=£ mp se-cun-dum mag - nam mi - se - ri cot — di - am, mi- du Born der Dur stenden, Hort der Ver - las-se-nen , du ^uu^Jte^fet x=t - = -» - Btnt cun - dum Born der mag Dur Se -&- nam mi - se - ri cor - di «- am, sten-den; Hort der Ver - las-se-nen, mi- du dum den mag nam mi - se - ri - cot — di - am, mi- and Hort der Ver - las-se - nen, du JB 5 •—j -«>-* 2C se cwndMmmofl'hom rot se - ri - cor-di-am, mi- da Born der Durstenden, der Ver- las - se- nen , du l ib^fe^=M Efc^ i . ■ =fe JS^ ^ » s ^ — "^ EfeP=^ =P=f : rt-^Efeil j2L =gfe 3t=t= 2E se - ri cor-di-am, mi se ^ ri - cor-di-am tu - am, lgpgEEgE -*=~4-&- ~J2L SE f^i se -' ri cor-di-am , mi - se - ri - cor-di-am tu< - am, bist des Mit-leids Quell, des Mit-leids ein-zi-ge Quel - le, PP ss 'Vm AS s BE ■&-T—&- T 35t=Sfc 3C 2fe3t I I ff THE HYMNS. S9 S- rfc— -0- ££rg£g t=t mi-se - re - re me-i, De us, mi-se- re-re ach.er-barme dich, mein Scho - pfer , ach, er - barme gfe^^^ rf 4= mi-re - re - re me - i , De - us , ach, er-barme dich, mein Scho - pfer, *BE=£Ef =i==t ±=ee|=S mi-se-re - re me i, De - us, ach, er - bar-me dich, mein Scho pfer, mi - re- ach, er- »_c" -» — e — — m- 4= }=t=t=tr mi-re -re -re me-i De us, ach erbarme dich, mein Scho pfer, I fe=E ?J==piS& SE ^t^g: w I / • r §5£ =*= se ^ — » fp^ E§ =^- "22~ * i EEE ^=t me-i re - cmj-dwm dich, Vater, ach, er mag nam bar-me dich, mi - re - ri - cor-di-am des Mit-leids ein-zi - ge W-r- :=c= 3— g^^-i ^SeeS »m' - re ^>re re, ach, er - bar - me dich, mi-se - ri - cor- di - am des Mifleids ein-zi-ge » -feS *3=S=f=HEEZ=t m re - re bar-me me-i re - cun dum dich,un-ser Va ter, mi - re - ri - cor- di-am dqs Mit-leids ein-zi-ge =R? 3 : £—=- Fff^ feS -(Si- s (i mi-se - re - re me - i , mi - se - ri - cor-di - am ach, er - bar-me, Va - ter, dich, des Mit-leids ein-zi-ge B=eS 25* 60 THE HYMNS, fc- fffll^P^ fefefed £=£ tu Quel am, — ,16, _ — se — er cun -'dum mag -nam bar me dich, er- &%$ raS m^ 3=*=*^ tu Quel am, se le , ach, er cun bar- — &—<&- ca-to Un-bill me-o la-ste mun-da mehr auf g^gB grg ^g m 4= t=t=t me - a Sun de, et a pec - ca-to dass kei-ne Un-bill me - o 'mun da la - ste mehr auf »&eS 3ErIE EiS S S3— ^ — mehr auf me a Siiu de, et o pec ca - to dass'kei-ne Un-bill me-o la-ste fe£ ££= 3 sB33 rr ggs fafe 3=3= ■»-»■ fesbs 1 Is 3=^=^ 7 jy te? 4 ^£ ^ ** 9p ^f f 62 THE HYMNS. a fefc__^_L .' j ^fff^ ** me mir, et a pec - ca - to, a pec - ca von je-der Sun-de, je-der Un to bill * ggg^g ra=SEE^^t ".fe- me mir, et a pec - ca - td, a pec - ca - to vpn'je-der Sun-de, je-der On - bill -\ :f=zt=»=t £ ^s^- ^^ »£^^ ^ me et o pec-ca-to, pec-ca-to me-o, mir, von je-der Siin-de und je-der Un-bill, pec-ca-to von Stinden £ ■ite =* ffi=fttJf=E -rf— # me et o pec- ca - to, pec-ca-to me-o, mir, von je-der Siinde und jeder Un'-bill, pec-ca-to vonSiinden | g^ Sfc m w '^St-^-^rjh P >- V , r p. '<£'. =A ggspEfa|fc^ ^ ^ =P=P= * / I I // rtf^=g=gE= _KU me o rei - ne, mun -da me I Va - ter, mich ! m^-=^=^^^^ -«-=- me o rei ne, HeS; mun - do me/ Va - ter, mich 1 -~ F — I — I— w me o rei - ne, mun da me I Va ter, mich ! ife^ -|S-> rg 3C I me - o rei ne, man - do me/ Va ter, mich ! « // ^ f ^ #■*•■!*■ THE HYMNS. 63 Tenore 1™° Tenore 2 d ° Basso l m ° Basso 2 rt • Libera (sung during the benediction of the corpse). (Composed by Seyfried. ) _2_ JV 1^^ +=£ ££££ Ie as Li-bera me, Dom'me, li-bera de morte ae-ter ]t>_ fp_ ^^ t=t ££ i« - 6era me, Domine, li - bera de morte- ae - ter P fp m$E&^^ S£$tz s Li-bera me, Domine, li-bera de morle ae-ter - - JE ■ " JJL IfeEgSJ^ ~Xr- -M— *- t=X S£ Li - bera m», Domine, li - bera de morte ae - ter f PMf^t m ■» -(2_ -1=2 (St- fc t=t ra di - e il - la Ire - men da, quando coe - li mo- teSS^SEE S 3t=t it in di - e il - la tre - men da, quando coe-li mo- tesSE£SE£E££ _d2_ « — s> — i — e>— # — »- =t=t=t na t» di e il - la tre men da, quando coe-li mo- HEEEEg g= n >~pgi ^ 7|5~-g2T *=t=t in di - e i/ 2u ire - men da, guondo coe-Zs mo- 64 THE HYMNS. £ EEf^ »'/ 3C ^S ve»- &Z ^e^s^gg nem. Tremens fac-tus sum e-go et ti-me-o dum discus-si- o THE HYMNS. 65 f lfEgBEfg^^E^' hp-T-W»—7 ^ ve-ne-rit ,at-que ven tu '-t ^p-^^T^E^k^ Quando P W: 'Ofszzi^fyz E=~ ve - ne-rit at-que ven - tu P -»- Gh- gE^gEEEg=g ife ra. Quando F-— ^ fr — I fcc=tz ve - ne - rit at*-que ven - tu ra i ra. Quando m i^uvj iy=fe4-^ J i y a _(2~ S |P- 5t=t ve - ne - rit at-que ven - tu ra i fi§£=SE£=^^ffi ISO ra. Qwando M^ ] E g coe - Zi mo - «e»t-di smij et f =F^- EE3EE1E £=e£e£* -i*- -i — i- * * s7 - to, di - es Se i^zr^c roe, co - to - mi - to - Ms et mi- B^EEEEEjEEJEBEEf d — I- rt ii - to, di - es fi^ i - rae, ca -la - mi to t- tis et mi- Jt e^^EeEEEfe^B^ to, di es t roe, ca - la - mi ta - its et mi- 66 ffc£ ^ THE HYMNS. £3^ ~.* ^ 4= ae, di mag-na, mag-na g^^"^fe^^^fe|^^ ^^ &=gl £= oe, di mag'-wo, mag-na -&=?£- 5=E= ^m 3=t mag - na, mag-na l a=f=^E^gE^ -&*- w 4=±=t se - • ft - ae di es, di es mag na, mag - na V mf m^F-rr? z?E HE±£ ^^3=^ di-es et a ma-ra val - de. dum ve-ne - ris m=£=*=t±=^ -P—&-- ~jBZ fc -I h di - es et a ■ ma-ra val de. dum ve-ne -ris ^ ^-j '&: -=-&- ££ -E=E3= :t=l di - es et a - ma - ra val dum ve-ne -ris mf feEK £ m * di es et a - ma - ra val de. dum ve-ne -ris W- fa^# ft ^=dfc £j=ffl% 4=1=3: B.»fels-.»- SE ju-di-ca-re sae-cu-lum, ju-di-ca-re" sae-cu-lum per ig Wz feEEEEE^EEl ig- 1 • • » »- -; *— »■ £ * 4=t=t=t t=£ =t ju-di-ca-re sae-cu-lum, ju-di-ca-re sae-cu-lum per ig - S*&E£E&&$£$&&£&E£^ ju-di-ca-re sae-cu-lum, ju-di-ca-re sae-cu-lum per ig S3 j rj— i— r SESEf 3^=^fe=^ ju-di-ca-re sae-cu-lum, ju-di-ca-re sae-cu-lutn per ig THE HYMNS. 67 { fezf^EEESsadSe -t)fg j t* g ^c s E: *=t Be gw'em ae - ter - mam do - na, do - na m. ^ Z&±c EEEE^: Re quiem ae - ter - nam do - na, do - na ^m F — P Y^ 7 §E tt= f±P= ^ nem. Re quiem ae. - ter - nam do - na, do - na m ^ ^ jv— j— j j i & — y^i— g quiem ae - ter - nam do - na, do - na i r^ IJ — i J. i — is Do - mi - ne. et lux per-pe-lu-a, el lux per- IE m* &¥^Tr f & &=*****=t is Do-mi- ne. et lux per-pe-tu-a, et lux per- ^3^^^^^^^^^ is Do-mi- ne. et lux per-pe-tu-a, et lux per- ff 3=t=t=t -= — m — m — m- 4= T- :J=±=t — •— • — ••=• Do-mi- ne. ( pBE&^E^EgEEjE&m et lux per-pe-tu-a, et lux per- P =t ± £E£ pe - tu-a lu - ce-at e-is, et lux per pe - tu a H^EE3Efe 3 £ 3=3- pe tu-a lu- ce-at e- is, lux per pe - lu a ^feS^fe^SESS ESE pe -tu-a lu - ce-at e - is, et lux per - pe - tu a P fe^gg^g n=^jt^ij^ Eg5jp; pe.-tu - a lu- ce-at e-is, et lux per - pe - tu a- 68 THE HYMNS. m=mrr ww rr=ffrr^ * lu - ce-at e is. Li-be-ra me, Do^mi-ne, 3^3= IB fE$E£E &-f—rT 3 lu - cerat Li-be-ra me, Do - mi-ree, ^ ^ $=* -#— #- 4SC* «: 4=t to - ce-ot e is. Li-be-ra'me, Domi-ne, y m £££ t*t i -»—0—&- ■jsz ^=t=t to - ce-af -Zfe. Li-be-ra me, Do mi -ne, dt=Sz ^^E^^fe^^^faE^^^H K - be-ra de mor-te ae - ter Jj>_ m ds - e i! - to ire- iS^g HE ^=#— f ££ -» — » — »- -i — r-E li-be-ra de mor-te ae - ter &=£^&3^Em in di e il - la tre- -9—T-& — t&-—r-& — » — 0- 4=t=t =t=t* li-be-ra de mor-te ae ter in di - e il la tre- P^ a^art -fSL— (2- S£ =t=t z^: U -be-ra de mor-te ae ter in di - e il la tre- fPE -fefafe *=5C men - . « l-^-f ^ b&—^&- -& — »- p TF^ ia 5=fc - I l .- l ' men - da, quando coe-li mo-ven-di sunt et ter -*< — i — & — i — e> — - P^=f^ :t=F it #— *- «ie»i - da, quando coe - li mo-ven-di sunt ei ter :z*ii= -a- Vic g -& — # — # — * ^ i — t — i— i-r men da, quando coe - li mo-ven-di sunt it ter THE HYMNS. 69 ^^^F^^^^S^ m ra, dum ve-ne-ris ju-di-ca-re sae-cu-lum, ju-di-ca-re ^^^^^eQeS_^t^^ : -»—#—»—, 3=t m Z2Z1 dum ve-ne-ris ju-di-ca-re sae-cu-lum, ju-di-ca-re .EK S^ - f f t*~ -p— p— p— p- *3r- ;» *=t=t =t=t=t=i= ra, ^ dum ve-ne-ris ju-di-ca-re sae-cu-lum, ju-di-ca-re ^=fe=±fc r|— K E iS3E£ & s -+^*-&- 3=* ra, dw» ve-ne-ris ju-di-ca-re sae-cu-lum, ju-di-ca-re (IgEgzEgEg *=t S^ sae - cm - tern per iff tei M =1= sae - cm - Jwn yer '3 H fc£ £ * sae - cu - lum per ig sae - cu - lum per *9 CHORAL-MELODY by L. v. BEETHOVEN, sung over the Composer's grave, March 29. 1828. (The poetry by Franz Grillparzer.) Tenore l mo Tenore 2 d0 Basso l u, ° Basso 2 d0 Poco Adagio. m^EE Pianoforte. p^^ feS^ =t dole. Du, dem nie im. Le ben H -&-* — m- X ^p^-0- X X =E dole. Du, dem nie im Le ben -a — «■ dole, Du, dem nie im Le ben Bpe -G>— - -&—&- ^ dole. Du, dem nie im Le ben te -J%=st m dole :r^r ~?~r~rt f pfe £=£ --f-T Ruhstalt Ruhstatt — «-- — »— 4= Ruhstatt z 3'. s Ruhstatt ^ rr THE HYMNS. 71 '^S=^=t^t ^ 5EEEE ward, und Herd und Haus. Ruhe I ^= t=M a ■ward, und Herd und Haus t:*. Ruhe nun, ruhe 1 1 , 4 1= ^ H«— *- ward, und Herd und Haus. Ruhe nun im Grab, ruhe m 1 1 i j- P=F=t 4 m m 3£l t= 3Z re- ward, und Herd und Haus. Ruhe nun im stil-len Grab, ruhe P £ • — m — I ^ffli^ fr- t- ^f 9='-* -s>-=- r r a iEJlgg ^ Eg^fei^p fTT' rn -i I pp. ^ m mf. lEfeE£ t=± i= *=t: =t I nun im To -de aus, still im Gra-be aus ; JBE. und wenn mf '■%= £ ^ \ %z=iz= $z£dg - U, gj. gj^#=*--^g^p^ i 3#: z»=3S: Klage reicht ii - ber's Grabhin-aus, horeh ,eig'- neu. Sangs Pl^^^l^P^ppS ?*== |s>: ^fera ^s£ THE HYMNS. 75 dole. .. .,.„„„ ■ ... > . , . „,., — 9 — es- t==t=t f siis-sem Klang ■t-v l== : halb er-wacht im stil len, slil-len Haus. JPE. m SI- 1 - :s ISC * dote. siissem Klang , halb er-wacht im stil-len, stil -len Haus. S* J>P* mm 'Id =1==: 3=:=t * *=t dole. m halb er-wacht im stil - len, stil-len Haus. * 3= 25b £^ S -h- — dole. siis-sem Klang, halb er-wacht im stil - len, stil-len Haus. 1 ^= t=v£=r 3=t -g •_ ^ ■ ^ .- g^-5 -s>—- dolc. t. r pp tJsi j^ -f d o. Beelhoreu, Studies. 2 6 EXPLANATION OF THE ENGRAVINGS. i } The house at Bonn in which L. v. Beethoven was torn , situated in the Rhine-street. Another house is sometimes pointed out, but there is no doubt that the one shewn in the engraving is the real one. 2) An Original sketch of the ^Adelaide," facsimile. 3) Facsimile of a letter in Beethoven's handwriting. i) View of the house called the Schwarzspanier house, in the Alser suburb of Vienna ; it was formerly a monastery, and is situated at the corner of the Wahringer-street and another which has now for some years been called the Beethoven-street. The house is very large and used to be inhabited by a number of different families; it is now a barrack, and there is a report current that it will soon be pulled down. The room in which Beethoven died, and at the window of which he often used to stand , is distinguished by a cross. This being the only picture of the house extant, it will excite peculiar interest. 5) Copies of the medals struck in honour of Beethoven. 6) Beethoven's tomb in the churchyard of Wahring, near Vienna; close to it is the grave, and simple monumental tablet, of the Composer Franz Schu- bert, and also that of Goethe's only granddaughter, Alma von Goethe, who died in her eighteenth year. Beethoven's tomb is of dark-grey marble , the butterfly, lyre , and name are gilt ; ah alder-tree covers the grave-stone , and the burial-ground is so thickly planted with flowers and shrubs as to re- semble a garden. CATALOGUE OF THE COMPLETE WORKS OF LUDWIG VAN BEETHOVEN, WITH THE VARIOUS ARRANGEMENTS OF THE SAME , AS PUBLISHED IN GERMANY. 26* L. YAN BEETHOVEN'S WORKS, numbered front Op. 1. to Op. 138. Op. 1. Srei Trios (Esdur, Gdur, Cmoll), fur Pianoforte, Violine u. Violonc. (Bern Fursten Lichnowski gewidmet.) Dieselben in Parlitur mit Stimmen. A r rang. Fur das Pianoforte zu 4 Handen v. Fr. Schneider. Fur das Pianoforte allein v. Lobe. Ebenso arr. v-, Winkler. Trio No. 1- Fur 2 Violinen, 2 Bratschen und Violoncell. 2- Ebenso (mit op. 87). 3. Ebenso (mit op. 104): Op. 2- Drei Sonaten (Fmoll, Adur, Cdur), fur das Pianoforte. (I. Haydn gewidmet.) A r r a n g. Fiir 2 Violinen, Bratsche und Violoncell v. A. Brand. Fiir das Pianoforte zu 4 Handen v. /. F. Schwencke. Adagio aus No. \ . mit Worten (Die Klage : Mein Gluck ist entflohen) unter- legt v. F. W. Allegro aus No. 1 . mit Worten (Sehnsucht v. Schiller^ v. Silcher. Adagio aus No. 2. mit Worten (Schau ich in's Auge ihr) v. Silcher. Largo aus No. 2. fiir das Orchester v- Seyfried. Adagio aus No. 3. fiir das Orchester v. Seyfried. Allegretto aus No. 3. mit Worten (WiederSehen) v. Silcher. Op. 3. Grossfsi Trio (Esdur), fur Violine, Bratsche und Violoncell. Das-, selbe in Partitur. , Arrang. Fiir Pianoforte und Violoncell (mit op. 64). Fur das Pianoforte zu 4 Handen v. Stegmpnn, Fiir das Pianoforte zu 2 Handen v. L. Winkler. Die 2 Menuetten daraus fiir das Pianoforte zu 4 Handen. Op. 4- Quintet* (Esdur), fiir 2 Violinen, % Bratschen und Violoncell. Dasselbe in Partitur. Arrang. Als Octett (Original) fiir 2 Clarinetlen, 2 Oboen, 2 Horner, und 2 Fagotte. (Oeuvre posthume.) Siehe Op. 103. Fiir das Pianoforte zu Handen v. /. P. Schmidt. Ebenso v. Klage. Fiir das Pianoforte v. L. Winkler. Rondo darriach (Esdur) fiir das Pianoforte zu 4 Handen v. Horr. Sonate darnach (Esdur) fiir Pianoforte, Violine und Violoncell (m. op. 63). Op. 5- Zwei ffrosse Sonaten (Fdur , G moll) , fiir Pianoforte und Violon- cell (oder Violine). (Friedrich Wilhelm II., KOnigvon Preussen gewidmet.) Arrang. Fur 2 Violinen, Bratsche und 2 Violoncello v. F. Ries. Fiir das Pianoforte zu 4 Handen. ' Fiir das Pianoforte allein v. L. Winkler. 78 L. van BEETHOVEN'S COMPOSITIONS. Op. 6. Eielchte Sonate (Ddur), fur das Pianoforte zu i Handen. A r r a n g. Fiir Pianoforte und Flete (oder Violine) v. Burchard. Fur das Pianoforte allein v. L. •Winkler. Rondo daraus fur das Pianoforte allein. Op. 7. Grosse Sonate (Esdur), fur das Pianoforte. (Babette de Keglevics gewidmet.) Arrang. Largo daraus mit Worten (Ta'gwerk ist vollbracht) fur 1 Singstimme mit Begleitiing des Pianoforte. Op. 8. Serenade (D dur), f. Violine, Bratsche u. Violonc. Dieselbein Partitur. Arrang. Fiir Guitarre, Violine und Bratsche v. Matiegka. Fiir Pianoforte und Violine (oder Flbte) v. A. Brand. Fiir das Pianoforte allein v. L. Winkler. Polonaise daraus fiir das Pianoforte zu 4 Handen. Dieselbe fiir 2 Violinen. Das Variationenthema als Lied v. C. P. mit Begleit. des Pianof. (Sanft wie die Friiblingssonne strahlt.) Das Trio der Menuett als Lied v. C. P. mit Begleit. des Pianof. (Go"tt Amor und Bacchus). Op. 9. Drel Trios (Gdur, Ddur, C moll), fur Violine, Bratscbe und Violoncell. (Dem Grafen von Browne gewidmet.) Dieselben in Partitur. Arrang. 3 grosse Trios fiir Pianoforte, Violine und Violoncell (m. op. 6i.). Fur das Pianoforte zu 4 Handen v. Slegmann. Fiir das Pianoforte allein v. L. Winkler. 3 Sonaten fiir das Pianoforte v. Heilmann. No. 1. als Sonate fiir -Pianoforte und Violine. No. 1 . als Sonate fiir Pianoforte allein (m. op. 43). No. 2. als Sonate fiir Pianoforte und Violine v. F. Bahles. Op. 10. Drel Sonaten. (C moll, F dur, Ddur), fiir das Pianoforte. (Der GrU- fin von Browne gewidmet.) Arrang. Fiir das Pianoforte zu 4 Handen v. /. F. Schwencke. No. 1 . Fiir 2 Violinen, Bratsche und Violoncell v. A. Brand. ' Adagio daraus fiir Violoncell und Pianoforte v. Burchard. Adagio daraus als Lied (Das ist' der Tag des Herrn) fiir eine Singst. mit Begleit. des Pianof. v. Hiibner. Agnus Dei darnach fiir Orchester und Singstimmen v. G. B. Bierey. NO. 2. Fiir 2 Violinen, Bratsche und Violoncell v. A. Brand. No. 3. Fiir 2 Violinen, Bratsche und Violoncell.v. F. Ries. Largo daraus mit Worten (Dein Auge welss etc.) fiir \ Singst. mit Begleit. des Pianof. Menuett daraus fiir 2 Violinen, Bratsche und Violoncell. Dieselbe fiir 2 Violinen, Bratsche, Bass, Flbte 2 Oboen (oder 2 Clarinetten) , '2 Hdrner und Fagott v. Baldenecker. Op. 11. Grosses Trio. (Bdur), fur Pianoforte, Clarinette (oder Violine) und Violoncell. (Der Gr'dfLn von Thum gewidmet.) Arrang. Fiir 2. Violinen, 2 Bratschen und Violoncell. Fiir das Pianoforte zu 4 Handen v- F. Schneider. Fiir das Pianoforte allein v. /. C. Lobe. Ebenso v. L. Winkler. Op. 12. Drel Sonaten (Ddur, Adur, Esdur), fiir Pianoforte und Violine. (F.,A. Salieri gewidmet.) A rrang- Fiir 2 Violinen, Bratsche und Violoncell. Fur Pianoforte und Fldte v. L. Drouet. Fur-das Pianoforte zu 4 Handen. Fiir das Pianoforte allein v. L. Winkler. Andante aus No. 2. mit Worten (Mir bewahrt Dein Busen etc) fur \ Singst. mit Begleitung des Pianoforte. L. van BEETHOVEN'S COMPOSITIONS. 79 Andante aus No. 2 fur d. Orcb. v. Seyfried. Rondo aus No. 2 ebenso von demselben. Adagio aus No. 3 ebenso von demselben. Op. 13. Sonate (pathetique, Cmoll) fur das Pianoforte. (Dem FUrsten Lichnowsky gewidmet.) \ Arrang.-Fiir neunstimmige Harmonic. Fiir 2 Violinen, 2 Bralschen und Violoncell. Fiir 2 Violinen, Bratsche und Violoncell v. Blumenlhal. Fiir 2 Violinen v. F . Hartmann. Fiir das Pianoforte zu 4 Handen v. C. G. IJcltl. Ebenso v. Fr. Mockwitz. Fiir das Pianoforte allein mit Applicator v. C. Cserny, Ebenso mit Firigersatz v. C. W Greulich. Adagio daraus mit unterlegtem Text (Das Auge der Geliebten etc.) v. Silcher. Op. 14- Znei Sonaten (Edur, Gdur), fiir das Pianoforte. [Dent Baron von Braun gewidmet.) », Arrang. Fiir das Pianoforte zu * Handen. No. 1 . Fiir 2 Violinen, Bratsche und Violoncell. No. 2. Fiir 2 Violinen, Bratsche und Violoncell. No. 2. Fiir 2 Violinen v. F. Hartmann. Allegretto aus No. 1 . fiir Orchester (zehnstinimig) v. Baldenecker. Op. 15- Erstes Concert (Cdur), fiir das Pianoforte mit Begl. des Orchesters. [Der Filrstin Odescalchi, geb. Grdfln Keglevics gewidmet.) Dasselbe in Partitur. Arrang. Fiir das Pianoforte mit Begleitung v. 2 Violinen, 2 Bralschen, Violoncell .und Bass. Eur das Pianoforte mit Begleitung von 2 Violinen , Bratsche und Violoncell. Fiir 2 Pianoforte Fiir das Pianoforte zu 4 Handen v. /. P. Schmidt. Fiir das Pianoforte allein. Largo daraus fiir das Pianoforte allein. Op. 16- Grosses Qtiintett (Esdur), fiir Pianoforte, Oboe, Clarinelte, Horn und Kagott. Arrang. Fiir das Pianoforte mit Begleitung von 2 Violinen, Bratsche und Violoncell. Fiir 2 Violinen,, Bratsche und Violoripell. Fiir Pianoforte, Violine, Bratsche und Violoncell. Fiir 2 Pianoforte von C. Czerny. Fiir das Pianoforte zu 4 Handen. Fiir Pianoforte und Physharmonica oder 2 Pianofortes v. Lickl. Fiir das Pianoforte allein- v. Winkler. Op. 17- Sonate (Fdur), fiir Pianoforte und Horn (oder Violine, oder Bratsche, oder Violoncell, oder Flote, oder Oboe, oder Clarinelte). Arrang. Sinfonie cone, riach der Sonate op. 17 fur 2 Violinen, Bratsche, Violon- cell, Contrabass, Flote, 2 Ciarinetten, 2 Fagotte und 2 Horner v. F. Ebers. Fiir 2 Violinen, 2 Bratschen und Violoncell. Fiir das Pianoforte zu 4 Handen. Ebenso arr. v. Horrose". Fiir das Pianoforte allein. Ebenso arr. v. L. Winkler. Adagio und Rondo daraus fiir das -Pianoforte. Op. 18. Seelis Quartette (Fdur, Gdur, Ddnr, Cmoll, Ad ur, Bdur) fiir 2 Violinen , Bratsche und Violoncell. [Der Filrstin von Lobkowilz gewidmet.) Dieselbeo in Partitur No. 1 — 6. 8. Dieselben in Partitur in einem Bande in 1?. Arrang. Als grOsse Sonaten fur Pianoforte mit Violine und willkiihrlicher Vio- loncell- Begleitung (m. op. 60) Fiir das Pianoforte zu 4 Handen v. Mockwitz. A Ebenso v. C. 80 L; vAS.BEfiTHOVEN'S COMPOSITIONS. Fiir das Pianoforte' allein Vi I<. Winkler. Theme fav. mit iOVar.ausdem QuartettNo. 5 fur das Pianoforte zu 4 Handen. Rondo aus No. 6 fur.das Pianoforte zu 4 Handen v. Borr. Variatipnen iiber das Andante, aus No. 5 fiir 2 Guitarreh v. Schuster. Soriate fiir das Pianoforte wovon der zweite Satz aus No. 5 entnommen ist. La Malinconia aus No. 6 fur das Pianoforte zu 4 Handen. Dieselbe fiir das Pianoforte zu 2 Handen. Op. 19. Zweites Concert (Bdiirj fur das Pianoforte mit Begleitung a>s Orchesters. (C. Nickl, Edlem von Nickelsberg gewidmet.) Dasselne in Parlitur. Arrang. Fiir das Pianoforte zu 4 Handen v. X. Gleichauf. Fiir das Pianoforte allein. Op. 20. Septet* (Esdur), fiir Violine, Bratsche, Horn, Oarinelte, Fagott, Vio- loncell iirnl Contrabass. Dasselbe in Partitur. Arrang. Fiir Blasinstrumente (elfstiinmig) v. Crusell. Ebenso (neunstimmig). . Fiir 2 Violinen, 2 Brat^chen und Violoncell. Fiir Flbte, Violine, 2 Bratschen und Violonoell (in GO v. /. Mahr. Fiir Pianoforte, Violiae, Bratsche und Violoncell v. Schwencke- FUrPianoforte mit Begleitung der Flote, Violine. und Violonoell v.I.N.HummeL Fiir Pianoforte, Violine und Violoncell v. C. G. Belcke. ifUr Pianoforte, Clarinette (oder Violine) und Violoncell vom Componisten arr. iind mil Op. 38 herausgegeben. Fiir Pianoforte und Violine v. Gleichauf. Fiir Pianoforte und Violoncell v. C. Burchard. Fiir 2 Pianofortes zu 8 Handen vi G. M. Schmidt. Fiir 2 Pianofortes, oder Physharmonica und Pianoforte. • Fiir das Pianoforte zu 4 Handen v. C. Czerny. ■ Ebenso v. W. Marks. Ebenso v. Fr. Mockwitz. t Ebenso in 4 yerschiednen Ausgaben. Fiir das Pianoforte allein v. C. Czerny. Ebenso v. /. N. Hummel. Ebehsbv.fr Liszt. Ebehso v. £. Winkler. Aus dem Septett einzeln: Menuett fiir das Pianoforte zu 4 Handen v. C. Czerny. *" Adagio oantabile fiir das Pianoforte v. fr. Liszt. Andante mit Variationen fur das Pianofortes, demselben. Menuett. und .Scherzo fur das Pianoforte v. demselben. Menuett fiir das Pianoforte v. C. Czerny. tied nach der Menuett (Viel bildschoni Deandln gibts) fiir eine Singstimme mit Begleitung des Pianoforte. Menuett cavatb fiir das Pianoforte. Rondo fiir das Pianoforte v. Horr. Variationen fiir das Pianoforte. Variationen nach dem Andante fiir 2 Guitarren v. Schuster (m. Op. 3.) Variationen daraus fiir Violine und Guiiarre v. Diabelli. Dul nach dem Adagio fiir Gesang und Pianoforte, nebst eigner Dichtung (Schuldlos wie Veilchenbliithe etc.] iibertragen v. Christern. Op. 21. Erste grosse Symgtlionle (C dur) fiir das Orchester. Dieselbe in Parlitur. ■*?■ Arrang. Fiir 2 Violinen, 2 Bratschen, 2 Oboen und 2 liorper v. F. Etters. . Fur, % Violinen, 2 Bratschen Und Violonceil. . Fiir 2 Viojinen,' Bratsche und. Violoncell. ' Fiir Pianoforte m. Begleit. cler Flbte, Violine und Violoncell v. /. JV. Hummel. Fiir Pianoforte, und Violine y. F. W. Arnold. Fiir 2 Pianofortes zu 8 Handen y. G. M. Schmidt. Fiir das Pianoforte zu 4 Handen v. C. Czerny. L. van BEETHOVEN'S COMPOSITIONS. 81 Fur das Pianoforte zu 4 Handen v. Zulehner. '•■. Fur das Pianoforte allein v. .Gelihek. ' Ebenso v. I. N. Hummel. Ebenso v. Fr. Kalkbrenner. Ebenso v. L. Winkler. / Op. 22. Grosse Sonate (Bdur), fur das Pianoforte. [Dem Grafen von Browne gewidmet.) Arrang. Fur das Pianoforte zu 4 Handen v. C. Czerny. Op. 23. Sonate (Amoll), fiir Pianoforte und Violine. Arrang. Fiir 2 Violinen, Bratsche und Violoncell v. Heinzius. ' Fiir Violine, Bratsche und Violoncell v. A. Brand. Ebenso arr. v. A. Uber. Fiir das Pianoforte zu 4 Handen, Fiir das Pianoforte zu 2 Handen v. L. Winkler. Op. 24. Sonate (Fdur), fiir Pianoforte,und Violine. Arrang. Fiir 2 Violinen, Bratsche und Violoncell v. J Heinzius. Fiir das Pianoforte zu 4 Handen. Ebenso arr. v. Halm. Fiir das Pianoforte allein v. L. Winkler . Adagio daraus mit Worten (Eleonbre) fiir eine Singstimme mit Begleitung des Pianoforte. Op. 25. Serenade (Ddur), fiir FlOte, Violine u. Bratsche. Dieselbe in Partitur. Arrang. Fiir Guitarre, Violine und Bratsche v. Matiegka. Fiir Pianoforte und Flote oder Violine vom Componisten. Fiir das Pianoforte zu 4 Handen. Ebenso v, /. Moscheles. Fiir das Pianoforte allein v. L. Winkler. Andante daraus mit Worten (Du bist mir mehr als alles Gliick) fiir eine « ,, Singstimme mit Begleitung des Pianoforte. Op. 26- Grosse Sonate (As dur) fiir das Pianoforte. [Dem Fiirsten Lichnowsky gewidmet.) Arrang. Fiir 2 Violinen v. F. Hartmann. Fiir das Pianoforte zn 4 Handen. Andante daraus mit Worten (Schmiickt etc.J^v. Sileher. Dasselbe mit unteYIegten Worten v. F. K. Griepenkerl. (Mit Adagio aus der Cismoll Sonate Op. 27 No. 2.) v Dasselbe fiir 2 Violinen, Bratsche und Violoncell. Dasselbe fiir, 2 Guitarren v. Carulli (Op. 155) Trauermarsch daraus: Fiir Orchester. Fiir das Pianoforte zu 4 Handen v- F. X. Chotek. Ebenso v. /. P. Schmidt. Fiir das Pianoforte allein. Ebenso in A moll. Fiir die Guitarre V. S. Yolker. Lieblings-Variationendaraus fiir das Pianoforte. Das Variationeri|hema als Lied (Wo der Mond mit bleichem Schimmer) fur eine Singstimme mil Begleitung des Pianoforte v. Hubner. Dasselbe als Liea%(Entfernt von der heimischen, traulichen Flur) fiir eine Singstimme; mitSegleitung des Pianoforte. Dasselbe als Gessfng (Aus dunkelm Laub) fiir eine Tenor und 2 Bassstimmen. Op. 27- Zwei Sonaten (Esdur, Cismoll), (beide zugenannt : Sonata quasi una fantasia) fiir das Pianoforte. (Der Furstin LichtensteirMwidmet.) Arrang. Adagio aus No. 2 als Kyrie fiir Gesang und Orcnelter in Partitur v. G. B. Bierey. Dasselbe als Kyrie eleison fiir Gesang. Partitur urid Stimmen. 82 L,. y$N BEETHOVEN'S COMPOSITIONS. Dasselbe mit unterlegten Worten fur Gesang und Pianoforte v. F. K. Grie- penkerl. (Mit dem Andante aus Op. 26,) Dasselbe als Duett fur 2 Violinen v. F. Harlmann. Allegretto aus No. 2. Fur 2 Violinen, Bratscbe und Violoncell. Andante aus No. i. Fur 2 Violinen, Bratsche und Violoncell. Allegro (4. Satz)'aus No. 1. Fur 2 Violinen, Bratsche und Violoncell. Adagio aus No. 2. Als Lied (Es zieht ein stiller Engel) far eine Singstirame mit Begleitung des Pianoforte v. Hubner: Op. 28. Grosse Son ate (Pastorale D dur) , fur das Pianoforte. (Joseph Edlem von Sonnenfels gewidmet.) Arrang. Fur 2 Violinen, Bratsche und Violoncell v. 6. B. Bierey (m. Op. 14.) Ebenso v. F. Ries. Fur Violine, Bratsche und Violoncell v. A. Uber. Op. 29. Quintet* (Cdur), fiir 2 Violinen , 2 Bratscben und Violoncell. (Dem Grafen von Fries gewidmet.) Dasselbe in Partitur. 8. In Partilur. 12. Arrang. Fiir das Pianoforte zu 4 Handen v. X. Gleichauf. Ebenso v. C.Klage. Ebenso v. /. P. Schmidt. Ebenso das Rondo daraus v. /. P. Schmidt. Fiir das Pianoforte allein v. L. Winkler. Op. 30. Drei Sonaten (A dur, Cmoll, Gdur), fur Pianoforte und Violine. (Dem Kaiser Alexander I. gewidmet.) A rrang. Fiir 2 Violinen, Bratscbe und Violoncell y. P. G. Heinzius, Fiir Pianoforte und FI6te v. L. Drouet. Fiir das Pianoforte zu 4 Handen. Fiir das Pianoforte allein v. L. Winkler. No. 2 mit Worten (Grass der Seelenetc.) fiir Gesang und Pianoforte v. Silcher. ■ No. 3 fiir Flote,' Violine, 2 Bratschen und Violoncell (m. Op. 85.) Op. 81. Dtfel Sonaten (Gdur, D moll, Esdur), fiir das Pianoforte. , Arrang. No. 1. Fiir 2 Violinen, Bratsche und Violoncell vom Componisten. No. 3. Fiir 2 Violinen, Bratsche und Violoncell v. F. Ries. No. \ . Fiir Violine, Bratsche und Violoncell v. A. Vber. No. 2 und 3. Fiir 2 Violinen v. F. Harlmann. Fiir das Pianoforte zu 4 Handen. Op. 32. (No. 32.) An die Hoffnnng (von Ti edge) fur eine Slngslimine mit Begleitung des Pianoforte. Op. 33- Bagatellen (7 pieces), fiir das Pianoforte. Arrang. No. 4. Fiir 2Tiolinen, Bratsche und Violoncell. No. 6 Ebenso. ' Op. 34. Seclis Variatlonen fiber ein Orlsinal-Thema (Fdur), fiir das Pianoforte. (Der Furstin Odeschalchi gewidmet.) Arran g. Das Thema fiir 2 Violinen, Bratsche und Violoncell. , Adagio mit Worten v. C. P. (Abscbiedslied : DesSchicksalsernsteMachteetc.) Abschiedslied nach dem Thema (Des Schicksals enisle Machte) fiir eine Sing- stirame mit Begleitung der Guitarre v. A. Diabelli. Op. 35. Funfzehn Variationen mit einer Fuge (Esdur), fur das Pianoforte. (Dem Grafen Lichnowsky gewidmet.) ? Op. 36. Zweite Symphonie (Ddur),f.d.Orcliester. Dieselbe inPartilur.8. Arrang. Fiir 2 Violinen, 2 Bratscben, Bass, 2 Oboen und 2 Horner v. F. Eber. Fiir 2 Violinen , 2 Bratschen, Violoncell (oblig.), Contrabass, Flote und 2 HOrner (ad lib.) v. F. Ries. Fiir 2 Violinen, 2 Bratschen und Violoncell. Fiir Pianoforte mit Violine, Flote und Violoncell v. 7. N. Hummel. Fiir Pianoforte , Violine und Violoncell vom Componisten. Fiir Pianoforte und'"Violine v. F. IV. Arnold. L. van BEETHOVEN'S COMPOSITIONS. 83 Fur 2 Pianofortes zu 8 Hiinden v. E. Hoffmann. Fur das Pianoforte zu 4 Hiinden v. C. Czerny. Ebenso v. Enkhausen. Ebenso v. Fr. Mockwitz. Ebenso (Bonn). Fur das Pianoforte allein v. L N. Hummel. Ebenso v. Kalkbrenner. Ebenso v. L. Winkler. Andante daraus mit unterlegten Worten (Frage.von Kerner) v. Silcher. Larghetto daraus fur Pbysharmonika und Pianoforte v. Lickl. Larghetto daraus als Menuett fur Pianoforte. Op. 37- BrHtes Concert (C moll), fur d. Pianoforte rait Begl. d. Orchesters. (Dem Prinzen Louis Ferdinand von PreussGn gewidmet.) Dasselbe in Partitur. Arrang. Fur das Pianoforte zu' 4 Handen v. /. P. Schmidt. Fur das Pianoforte allein. Rondo (Finale) daraus fur das Pianoforte zu 4 Handen. Op. 38. Grosses Trio (Esdur), fur Pianoforte, Clarinette (oder Violine) und Violoncell, nach dem Septett Op. 20. arrangirt vom Componisten. .(Siebe Op. 20) Op. 39 Znei Praliidien durch alle f« Dur-Tonarten fur Pianoforte oder Orgel. Op. 40. Romanze (Gdur), fur die Violine mit Begleitung von 2 Violinen, Bratsche , Bass , FIBte , % Oboen , 2 Fagolte und Horn. Arrang. Fur die Violine mit Pianoforte. Fur das Pianoforte allein v. L. Winkler. Fur das Pianoforte allein v. F. W. Epptter. Op. 41. Serenade (Ddur), fur Pianoforte und Flote (oder Violine) arrangirt nach der Serenade Op. 25 vom Componisten. (Siehe Op. 25.) Op. 42. Notturno (Ddur), fur Pianoforte und Bratsche arrangirt nach der Serenade Op. 8. vom Componisten. (Siehe Op. 8.) Arrang. Fur das Pianoforte zu 4 Handen. Fur das Pianoforte allein v. Eppner. Polonaise daraus fur das Pianoforte zu 4 Handen. Dieselbe fur das Pianoforte allein. Dieselbe fur 2 Violinen. Dieselbe fiir Guitarre und Flote oder Violine. r- Op. 43. IMe Geschopfe des Prometheus Ballet. A r rlang. Fur 2 Violinen, Bratsche und Violoncell v. Zulehner. Quartett daraus fur 2 Violinen, Bratsche und Violoncell. Fiir Flbte,- Violine, Bratsche und Violoncell v. Zulehner. Fiir eine Flote. Fiir Pianoforte und Violine v. Zulehner. Fiir das Pianoforte allein. Ouvertiire allein fiir das Orchester. Fiir Pianoforte, Violine, Fldte, und Violoncell v. /. JV. Hummel. Fiir Harfe und Pianoforte mit ■willkuhrlicher Begl, v. Violine und Violoncell. Fiir Pianoforte und Violine. Fiir 2 Pianofortes zu 8 Handen v. G. M. Schmidt. Fiir 2 Pianofortes zu 4 Handen v. C. Czerny. Fiir das Pianoforte zu 4 Handen. Fiir das Pianoforte allein. Allegretto aus No. 6. fiir 2 Violinen, Bratsche und Violoncell. No 8. fiir das Pianoforte zu 4 Handen. Siehe Op. 9. 84 L. van BEETHOVEN'S COMPOSITIONS. Op. 44. Vlerzehn Variationen (Esdirr), fur Pianoforte, Violine und Violoocell. Op. 45. »rei grosse IVIarsclie (Cdur, Esdur, Ddur), fur das Pianoforte zu 4 HSnden. Op. 46. Adelaide (Gedicht von Mattliison), fur eine Singstimme mit Begleitung des Pianoforte. . Arrang. Mit deutschem, franzdsischem und italienischem Text fiir Sopran. Ebenso fiir Alt oder Bariton. Mit englischem Texte fiir Sopran oder Tenor oder Mezzo-Sopran oder Bariton . Mit .deutschem und italienischem Texte und Begleitung der Guitarre- Mit franzdsischem und italienischem Texte und Begleitung der Guitarre. Mit deutschem, franzosischem und italienischem Texte und Begleitung des Pianoforte und Horn oder Fagott oder Bassethorn oder Violoncell oder Bratsche von Heuschkel. Fiir Violine solo v. L. de St. Lubin. Fiir Violoncell und Pianoforte v. R. E. Bockmilhl. Ebenso v. /. /. F. Dolzauer. Fiir Flote und Pianoforte variirl. Fiir Pianoforte und Violoncell. "Fiir Pianoforte und Flote. » Fiir Physharmonica und Pianoforte oder fiir 2 Pianofortes v.- Lickl. Fiir das Pianoforte zu 4 Handen v. C. Czerny. Ebenso v. Horr. Ebenso v. G. W. Marks. . Fiir das Pianoforte allein v. Behrens. Ebenso (im leichten Stil) v. S. Burkhardt. Ebenso v. B. Cramer. Ebenso. v. C. Czerny. Ebenso v. C. W. Ellissen. Ebenso v. Horr. Ebenso (in Notturnoform) v. Hiittner. Ebenso v. Kullack: ' Ebenso (mil einer grossed Cadenz) v. Fr. Liszt. Ebenso v. C. Voss. (Op. 51 No. 3.) Ebenso v. Kullack, und erleichtert v. E. D. Wagner. Ebenso v. R. Willmers.. Ebenso v. Zogbaum. (Op. 40..) Op. 47* Sonate (A dur), (Scritta in imo stilo tnolto concerlanle, quasi come d'un Concerto), fiir Pianoforte und Violine. (R. Kreutzer gewidmet.) Arrang. Fiir 2 Violinen, 2 Bratschen und Violoncell. Fiir Pianoforte, Violine, Bratsche und Violoncell v. F. Harlmann. Fiir das Pianoforte zu 4 Handen v. C. Czerny. ■ Ebenso.- Fiir das Pianoforte allein v. C. Czerny. Ebenso v. L. Winkler. Die Variationen daraus fiir Pianoforte und Violine. Dieselben fiir das Pianoforte allein. Variationen fav. fiir das Pianoforte zu 4 Handen. Andante daraus fiir das Pianoforte (une pensee). Dasselbe.fiir das Pianoforte zu 4 Handen. Op. 48. Seclis liieder von Gcllerl fiir eine Singstimme mit Begleitung des Pianoforte. Einzeln: No. 1. 3. 4. 5 ; 6. Arrang. No. 2. 4. 5. 6. fiir das Pianoforte v. Fr. Liszt. No. 5. fiir 4 Mannerstimmen mit Orchester oder Pianojprtev. B. Bamcke. Op. 49. Zwei leiclite Sonaten (Gmoll, Gdur), fiir das Pianoforte. Einzeln: die Menuett aus No. 2 . L. van BEETHOVEN'S COMPOSITIONS. 85 Op. 50- Romance (F duij, fiir die Violine mit Begl. von 2 Violinen, Bratsche, Bass, Flote, 2 Oboen, 2 Hornern und 2 Fagotteo. Arrang. Fur das Pianoforte v. L. Winkler. EbenSo v. Joachim Raff. Als Rondo brillant fiir das Pianoforte zu 4 Handen v. C. .Czerny. (Op. 44). ' Fiir die Violine mit Begleitung des Pianoforte. Op. 51. Zwel Rondo's (€ dur Gdur), fiir das Pianoforte. Arrang. No. 2. Fur Violine und Violoncell v. A. Uber. Op. 52. Acbt Gesange und Iiieder fiir eine Singstimme mit Begleitung des Pianoforte. ' Einzeln No. 1. Mit Guitarre. No. 1 . Mit Pianoforte. No. 2. Mit Pianoforte. No. 3. Mit Pianoforte No. 4. Mit Pianoforte. No. 5. Mit Pianoforte. No. 6. Mit Pianoforte. No. 6. Mit Guitarre. No. 6. Mit Guitarre arr. v. Sippel. No. 6. Mit Pianoforte. No. 7. Mit Pianoforte. No. 7. Mit Guitarre; ' No. 8. Mit Pianoforte. No. 8. Mit Guitarre. Op. 53. Crosse Sonate (Cdur), fiir das Pianoforte. (Dem Grafenvon Wald- stein gewidmet.) Arrang. Fiir das Pianoforte zu 4 Handen v. Succo. Op. 54. Sonate (No. 51. Fdur). fiir das Pianoforte. Op. 55- Drltte Symphonic (Esdur), (Sinfonia eroica composla per festeggiare il sowenire d'un grand' uomo) , fiir. das Orchesler. [Dem Fiirsten von Lobkowitz gewidmet.) Dieselbe in Partitur 8. Arrang.~Fiir2 Violinen, Bratsche, Flote, 2 Clarinetten, 2 Horner und Contrabass V. F. Ebers. Fiir FlOte, 2 Violinen , 2 Bratsch'en, Violoncell u. Contrabass v. G. I. Kerner. Fiir Pianoforte, Violine, Bratsche und Violoncell. Fiir Pianoforte, Violine, Flole und Violoncell v. /. N. Hummel. Fiir Pianoforte, Flote uud Violoncell. Fiir 2 Pianofortes zu 8, Handen y, E. Hofmaim. Fiir das Pianoforte zu 4 Handen v. C. Czerny. Ebenso v. A. E. Miiller. Fiir das Pianoforte allein v. /. N. Hummel. Ebenso v. Fr. Kalkbrenner. Ebenso v. L. Winkler. Trauermarsch daraus fiir 2 Pianofortes oder Pianoforte und O'rgel (oder Harmonium) v. S. Neukomm. Derselbe fiir das Pianoforte v. Fr. Liszt. Derselbe fiir das Pianoforte. Derselbe fiir Physharmonica und Pianoforte v. Lickl. Siehe Op. 87. Op. 56- Concert (Cdur), fiir Pianoforte, Violine und Violoncell mit Begleitung des Orchesters. Dasselbe in Partitur. Arrang. Fiir da's Pianoforte allein, Polonaise daraus fiir das Pianoforte zu 4 Handen. Dieselbe fiir das Pianoforte allein. 86 L. van BEETHOVEN'S COMPOSITIONS. Op. 57- CJrosse Sonate (No. 54. appassionata , Fmoll) , fur das Pianoforte. (Dem Graf en von Brunswick gewidmet.) A rrang. Fur das Pianoforte zu 4 Handen. Clara Wiek und Beethoven, Gedicht von Grillpaczer, mitMotiven obiger Sonate musikalisch gegeben fur eine Singstimme mit Begleitung des Pia- noforte von /. Vesque von Puttlingen. Andante daraus mit unterlegten Worten (An dieNacht) f. Sopran oder Tenor v. Silcher. Op. 58. Vlertes Concert (Gdur), fur das -Pianoforte mit Begleitung des Orcliesters. (Dem Erzherzog Rudolph gewidmet.) Dassselbe in Partitur. Arrang. Fur das Pianoforte allein. SieheOp. 31. 69. Op. 59. Drei grosse Quartette (Fdur, Emoll, Cdur), fur 2 Violinen, Bratsche und Violoncell. {Dem Fiirsten Rasoumoffsky gewidmet.) Dieselben in Partitur 8. Diesejben in Partitur 16. Arrang. Als Trio fur Pianoforte, Violine und Violoncell v. F. Hartmann. Fur das Pianoforte zu 4 Handen v. Stegmann. Andante fav. aus No. 3. Fiir 2 Guitarren v. Schuster. (Op. 5.) Sonate fur das Pianoforte, wovon der erste Satz dem QuartettNo. 3. ent- nommen ist. SieheOp. 69. Op. 60. Vierte Symplionie (Bdur) , fiir das Orchester. (Dem Grafen von Oppersdorf gewidmet.) Dieselbe in Partitur., Arran g. Fiir 2 Violinen, 2 Bratschen, und Violoncell. Fiir Pianoforte m. Begl. von Violine , Flote und Violoncell v. /. N. Hummel. Fiir 2 Pianofortes. Fiir 2 Pianofortes zu 8 Handen v. Dietrich. Fur das Pianoforte zu 4 Handen v. C. Cserny. Ebenso y_ F. Mockwits. Ebenso v. Waits. Fiir das Pianoforte allein v. /. N. Hummel. Ebenso v. Fr. Kalkbrenner. Siehe Op. 4 8. Op. 61* Concert (Ddur), f. die Violine mit Begleitung des Orcliesters. (Seinem Freunde von Breuning gewidmet.) Dasselbe in Partitur. Arrang. Fiir das Pianoforte mit Begleitung des Orchesters. Fiir das Pianoforte zu 4 Handen v. X. Gleichauf. Fiir das Pianoforte allein. Siehe Op. 9. Op. 62. Ouverfure zur Tragodie Corlolan (CmoIl), fur das Orche- ster. (Dem- Hof seer etair von Collin gewidmet.) Dieselbe in Partitur. Arrang. Fiir 2 Pianofortes zu 8 Handen v. G. M. Schmidt. Fiir 2 Pianofortes v. C. Czerny. .Fiir das Pianoforte zu 4 Handen. Fiir das Pianoforte allein. Op. 63. Crosse Sonate (Esdur) , f. Pianoforte, Violine und Violoncell naeh dem Quintett Op. 4. arrangirt vom Compdnisten. Siehe Op. 4. Op. 64. (No. 64.) Crosse Sonate (Es dur), fur Pianoforte mit Begleitung des Violoncells, nach dem Trio Op. 3. arrangirt vom Componisten. Siehe Op. 3. Op. 65. Scene nndArle (italienisch und deutsch) , („Ah! pecfido" Ha! treu- loscr etc.) , fiir eine Sopranstimme mit Begleitung des Orchesters oder des Pianoforte. Arrang. Mit Begleitung des Pianoforte (italienisch und deutsch). Ebenso (deutsch). L. van BEETHOVEN'S COMPOSITIONS. 87 Op. 66. Zwiiir Variatlonen (Fdur), far Pianoforte und Violoncell (oder Violine), (Ceber : ein Madchen oder Weihchen). A r rang. Fur das Pianoforte zu 4 Han den. Op. 67. Funfte Symphonle (Cmoll), f. d. Orchester. Dieselbe in Partitur. Arrang. Fur 2 Violinen, 2 Bratschen und Violoncell v, F. Ebers. Fur Pianoforte mit Begl. von Flote, Violine und Violoncell v. /. N. Hummel. Fur Pianoforte, Violine und willkiihrliche Violoncell-Begleitung v. /. Andre". Fiir Pianoforte und Violine v. /. Andre". Fur Pianoforte und Violoncell v. /. Andre". Fiir 2 Pianofortes zu 8 Handen v. E. Hofmann. Fiir 2 Pianofortes v. M. C. Eberwein. Fiir das Pianoforte zu 4 Handen v. C. Cserny. Ebenso v. F. Ebers. Ebenso v. Fr. Schneider. Fiir das Pianoforte allein v. 1. N. Hummel. Ebenso v. Fr. Kalkbrenner. Ebenso v. Fr. Liszt. Andante daraus mit Worten (Ohne dich , was war' mein Leben !) fiir eine Sopran- oder Tenorstimme mit Begleitung des Pianoforte v. Silcher. Op. 68- Secliste Symphonic (Pastorale, Fdur) , fiir das Orchester. . Die- selbe in Partitur. Arrang. Fiir 2 Violinen, 2 Bratschen und 2 Violoncells v. Fischer. Fiir Pianoforte mit Begl. von Flote, Violine und Violoncell v. /. JV. Hummel. Fiir Pianoforte, Violine und Violoncell v. C. G. Belcke. Fiir Pianoforte mit Violine oder Flote. Fiir 2 Pianofortes v. Eberwein. Fiir das Pianofprte zu 4 Handen v. C. Cserny. Ebenso v. Fr. Mockufitz. Ebenso v. Watts. Fiir das Pianoforte allein v. /. JV. Hummel. Ebenso v. Fr. Kalkbrenner. Ebenso v. Fr. Liszt. Sonate fiir das Pianoforte daraus. Op. 69. Grosse Sonate (AdurJ, f. Pianoforte und Violoncell (oder Violine). [Dem Baron von Gleichenstein gewidmet.) Arrang. Fiir Pianoforte und Violine. Fiir das Pianoforte zu 4 Handen v. /. P. Schmidt. Op. 70. Zwei Trios (Ddur, Esdur) , fiir Pianoforte , Violine und Violoncell. (Der Grdfin Marie von Erdtidy, geb. Grdfin von Niszky gewidmet.) Arrang. Fiir das' Pianofor|ejzu 4 Handen v. F. Mockwitz. Ebenso v. G. Reichardtf Op. 71- Sextett (Esdur), fiir 2 Clarinetten, 2 Horner und 2 Fagotte. Arrang. Fiir Pianoforte , "Violine und Violoncell (oder Pianoforte , Clarinette und Fagott) v. Wustrow. Fiir das Pianoforte zu 4 Handen v. X. Gleichanf. Ebenso. Op. 72. Leonore. Oper In zwei Akten. (Erste und zweite Bearbei- tung). Vollstgndiger Klavierauszug. Arrang. Leonore. Oper in zwei Akten. Klavierauszug (vergriffen) ,. Ouverture (No. 3.) und Gesange (wie oben) aus der Oper Fidelio (Leonore). Klavierauszug. Neue Ausgabe (vergriffen). Erste OuverUire. (Cdur, m. Op. 138 aus Beethoven's Nachlass) f. das Orche- ster. Dieselbe in Partitur. Fiir das Pianoforte zu 4 Handen. Fiir das Pianoforte allein. 88 L. van BEETHOVEN'S COMPOSITIONS. Zweite Ou verture(Cdur) fur das Orchester. Dieselbe in Partitur. Fur das Pianoforte zu 4 Han den. Fur das Pianoforte allein. Dritte Ouvertu re (C dur), fur das Orchester. Dieselbe in Partitur. Fur 2 Violinen, 2 Bratschen-und Violoncell v. C. G. Miiller. Fur das Pianoforte zu 8 Handen v. G. M. Schmidt. Fur das Pianoforte zu 4 Handen. Fur das Pianoforte allein. Op. 72. Fidelio (Leonore). Oper In zwei Akten. (Dt-iiie Bearbeilung). Klavierauszug. Dieselbe in Partitur. A r rang. Fur neunstimmige Harmoniemusik. Fiir2 Violinen, 2 Bratschen und Violoncell. Fur 2 Violinen, Bratsche und Violoncell. Fur Flote, Violine, Bratsche und Violoncell. Fur Pianoforte und Violine (oder Flote) v. Grabelef. Fiir Pianoforte und Violine v. A. Brand. Fiir das Pianoforte zu 4 Handen v. Ebers. Fiir das Pianoforte allein v. /. P. SQhmidt. Ebenso v. Moscheles. Choix d'airs fiir 2 Fldten. •Ebenso fiir das Pianoforte. v. Moscheles. Auswahl beliebter Stiicke daraus fiir das Pianoforte allein. Sechs Favoritarien daraus fiir Fldte (oder Violine). und Guitarre v. Diabelli. Marsch daraus fur das Pianoforte. Potpourri daraus fiir das Pianoforte zu 4 Handen. Dasselbe fiir das Pianoforte allein. Textbuch zu der Oper. Ouverture (oder yierte Ouverture zu Leonore Edur) f. d. Orchester. Dieselbe in Partitur. *" Fiir 2 Violinen, 2 Bratschen und Violoncell. Fiir 2 Violinen, Bratsche und Violoncell. Fiir Pianoforte und Violine. Fiir 2 Pianofortes zu 8 Handen v. G. M. Schmidt. Fiir das Pianoforte zu 4 Handen. Fiir das Pianoforte allein. Op. 73- Fiinftes Concert (Es dur) , fiir das Pianoforte hlit Begleitung des Orchesters. (Dem Erzherzog Rudolph gewidmet.) Dasselbe in Partitur. Arrang. Fiir das Pianoforte zu 4 Handen v. X. Gleichciuf. Fiir das Pianoforte allein v. /. Moscheles. Rondo daraus fur das Pianoforte zu 4 Handen. Dasselbe fiir das Pianoforte allein. °P- 74. Quartett (Es dur), fiir 2 Violinen, Bratsche und Violoncell. {Dem Fiir- sten von Lobkowitz gewidmet.) Dasselbe in Partitur. Arrang. Fiir Pianoforte, Violine und Violoncell v. C. G, Belcke. Fiir das Pianoforte zu 4 Handen v. /. P. Schmidt. Ebenso v. F. X. Gleichauf. Op. 75. Sechs Gesange von Goethe fiir eine Singslimme mil Begleit. des Pianoforte. (Der Fiirs'tin pon Kinsky geb. Grcifin von Kerpen gewidmet.) Einzeln No. 1. No. 1 . Mit Begleitung der Guitarre. No. 2. 3. 4. No. 4. Mit Begleitung der Guitarre. No. 5. 6. No. 5. 6. Mit Begleitung der Guitarre. ' Siehe0p..16. '^i.' Op. 76. Variatlonen (D dur) , fiir das Pianoforte, (tfeinem Freunde Oliva gewidmet.) L. van BEETHOVEN'S COMPOSITIONS. 89 Op. 77- Fantasie (Gmoll) , fiir das Pianoforte. (Seinem Freunde , dem Grafen F. von Brunswick gewidmet.) Arrang. Dcr Schlusssatz als Lied, (Rauschendes Bachlein) , fiir eine Singstimme mit Begleitung des Pianoforte v. Hubner. , Op. 78- Sonate (Fisdur) , fiir das Pianoforte. (Der Grdfm, Th. von Brunswick gewidmet.) Op. 70. Sonattne (Gdur), fiir das Pianoforte. Op. 80. Fantasie (C moll) , fiir Pianoforte , Chor und Orchester. (Dem Kiinig Maximilian Joseph von Baiern gewidmet.) Dieselbe in Parlitur. A rrang. Fiir Pianoforte, Chor und Flote (oder Violine) , zweite Violine,. Bratsche und Bass. Ebenso mit Quartett. Fiir Pianoforte und Chor. Fiir das Pianoforte zu 4 Han den. Fur das Pianoforte allein. Die Chorstimmen :.Sopran, Alt, Tenor und Bass. Op. 81". Charakteristtgehe Sonate (Es dur), Les adieux, 1'absence et le re- lour), fiir das Pianoforte. (Dem Erzherzog Rudolph gewidmet.) Arrang. Fiir das Orchester v. Bierey. Op. 81 b - Sextett (Esdur) , fiir % Vioiinen, Bratsche," Violoncell und % obligate HSrner. Dasselbe in Partitur. Arrang. Fiir 2 Violihen, 2 Bratschen und Violoncell. EbenSo in Partitur. • Fiir Pianoforte, Violine (oder Bratsche) und Violoncell (m. Op. 83.). Fiir das Pianoforte zu 4 HSnden v. J. P. Schmidt. Ebenso v. F. X. Gleichauf. " '■ . ■ Adagio daraus mit Worten (Hort vom ' Strand ein Vespersingen) fiir 2 So- prane und 2 Basse ohne Begleitung. Op. 82. Vier Artetten und eln Duett (italieniscb und deutsch) mit Begleitung des Pianoforte. Einzeln No. 1. 1 3. 4. 5. Siehe Op. 44. Op. 83- Drei Gesange von Goethe fiir eine Singstimme mit Begleitung des Pianoforte. [Der Furstin von Kinsky, geb. Griifin von Kerpen gewidmet.) Einzeln No. 1. 2. 3. No. 1.2. Mit Begleitung der Guitarre. ®t No. 1. '3. Fiir das Pianoforte iibertragen v. Fr. Liszt. Siehe Op. 81. y*> Op. 84- Ouverture und Zwisehenakte zu Goethe's Fgniont. Partitur. Arrang. Fiir 2 Vioiinen, Bratsche Und Violoncell v. A. Brand. Fiir Pianoforte und Violine v. A. Brand. Fiir das Pianoforte zu 4 Handen v. V. WOrner. Zwischenakte (ohne Ouverture) fiir das Orchester. Dieselben fiir das Pianoforte allein (mit den beiden Gesangen). Symphonie, Entr'act und CI5rchens Arie fiir das Pianoforte allein. No. 1 und,4. Einzeln. Dieselben fiir das Pianoforte v. Fr. Liszt. Die Declamation v. Mosengeil. Ouverture allein fiir das Orchester in Partitur. Dieselbe in Stitfjmen (20 stimmig). Ebenso (1«Jt ode'r 1 3 stimmig) Dieselbe fur.BMsinstrumente (9 stimmig). Dieselbe fiir tiirkische Musik. Dieselbe fiir 2 Vioiinen, Bratsche und Violoncell. Beethoven, Studies. 27 90 L. van BEETHOVEN'S COMPOSITIONS. Dieselbe fur das Pianoforte mit Begleitung von Violine , Flote und Violoncell v. /. Moscheles. Dieselbe fur 2 Pianofortes zu 8 Handen v. G. M. Schmidt. Dieselbe fiir 2 Pianofortes zu 4 Handen. Dieselbe fiir das Pianoforte zu 4 Handen. Dieselbe fiir das Pianoforte allein. Dieselbe v. Kullak. Op. 85. Chrtstus am Oelberge, ©ratorlnm fur Solo- und Chor- stiramen mit Orchester. Partitur. Orchesterstimmen. Singstimmen compl. Solostimmen. Chorstiramen. Arrang. Klavierauszug mit Text. Fiir das Pianoforte zu 4 Handen v. E. F. Richter. Fiir das Pianoforte allein v. C. Czerny. Fur Fliite, Violine, 2 Bratschen und Violoncell. Siehe Op. 30. Op. 86. IWesse (3Hymnen, Cdur), fur 4 Singstimmen und Orchester. (Dem Fursten von Kinsky gewidmet.) Partitur. Orchesterstimmen. Singstimmen. Arrang. Klavierauszug mit Text. Fiir das Pianoforte zii 4 Handen v. F. X. Gleichauf. Ebenso v. C. Gsefltjf; Fiir das Pianoforte allein. Ebenso v. C. Czerny. ' Op. 87. Trio (Cdur), f. 2 Oboen u. englisches Horn. Dasselbe in Partitur 16. fm. Op. 55.) Arrang. Fiir 2 Violinen und Bratsche (m. Op. 55.). Fiir Violine, Bratsehe und Violoncell fm. Op. 29.). Fiir 2 Violinen und Bass (Oder Fagott) (m. Op. 29.). Fiir 2 Floten und Bratsche (m. Gp. 29.). Fiir 2 Clarinetten und Fagott (m. Op. 29.). Als Sonate fiir Pianoforte und Violine. Fiir das Pianoforte zu 4 Handen v. F. X. Gleichauf.* Adagio daraus mit Worten (Scblafst du , lieb BraAitchen, etc.) fiir 3 Sopran- stimmen ohne Begleitung. Siehe Op. I.No.2. Op. 88- Dag CUiick der Freundschaft (Lebensgluck). (Vita felloe). Op. 89- Polonaise (Cdur), fiir das Pianoforte. (Der Kaiserin von Russland Elisabetha Alexiewna gewidmet.) Op. 90. Sonate (E moll), f. das Pianoforte. (Dem Grafen Lichnowsky gewidmet.) Arrang. ErsterSatz daraus mit Worten (Wie rastlos unaufhaltsam) fiil*1 Sopran- oder Tenorstimme mit Begleitung des Pianoforte v. Silcher. Zweiter Satz daraus mit Worten (Die Schwalben sind fortgezogen) f. \ Sing- stimme mit Begleitung des Pianoforte v. Eiibner. Op. 91. Wellington's Sleg, Oder die Sehlacht bel Yitloria fiir das Orchester. (Dem Prinz-Regenten von England Georg August Friedrich gewidmet.) Dieselbe in Partitur. Arrang. Fiir Harmoniemusik (9stimmig). Fiir 2 Violinen, 2 Bratschen und Violoncell. Fiir Pianoforte, Violine und Violoncell. Fiir 2 Pianofortes. Fiir das Pianoforte zu 4 Handen. Fiir das Pianoforte allein. Op. 92. Siebente Symphonie (Adur), fiir das Orchester. {Dem Reichs- grafen M. v. Fries gewidmet.) Dieselbe in Partitur. Arrang. Fiir Harmoniemusik (9 stimmig) . , ,,, Fiir 2 Violinen, 2 Bratschen und Violoncell. Fiir Pianoforte, Violine, FlSte und Violoncell v. I. N. Hummel. L. van BEETHOVEN'S COMPOSITIONS. 91 Fur Pianoforte, Violine und Violoncell. Fur 2 Pianofortes. Fur das Pianoforte zu 4 Handen. Ebenso v. -C. Czerny. Ebenso v. Fr. Mocltwitz. Fur das Pianoforte allein. Ebenso v. /. N. Hummel. Ebenso v. Fr. Liszt. Allegretto daraus fiir Physharmpnica und Pianoforte v. Lickl. Dasselbe mit Worten (Wiegt inn hiniiber) fiir 1 Sopran- oder Tenorstimme mit Begleitung des Pianoforte v. Silcher. Dasselbe ebenso (Hoch auf dem alten Thurme) fiir 1. Singstimme mit Beglei- tung des Pianoforte v. Hiibner. Mittelsatz aus demselben ebenso (Weste sauseln deinen Namen). Op. 93. Aclite Syuiphonie (Fdur), fur das Orchester. Dieselbe in Partitur. Arrang. Fiir Harmoniemusik (9 stimmlg) . Fiir 2 Violinen, 2 Bratschen und Violoncell., . Fiir Pianoforte, Violine und Violoncell. Fiir 2 Pianofortes. Fiir das Pianoforte zu 4 Handen. Ebenso v. C. Czerny. Fiir das Pianoforte allein. Op. 94. An die If offnung (aus Tiedge's Urania) , fiir eine Singstimme mit Begleitung des Pianoforte). (Der Furstin von Kinsky , geb. Grilfin von Kerpen gewidmet) , Op. 95. Quartet* (Fmoll), f. % Viol., Bratsche u. Violonc. (SfiinemFreunde, dem Hofsecretair Nic. Zmeskall von Domanovetz gewidmet.) Dasselbe in Parlitur 16. Arrang, Fiir das Pianoforte zu 4 Handen v. F. X. Gleichauf. Op. 96. Somate (Gdur), fiir Pianoforte und Violine. (Dem Erzherzog Rudolph gewidmet.) Arrang- Fiir 2 Violinen, Bratsche und Violoncell. Fiir das Pianoforte zu 4 Handen. Op. 97. Grosses Trio (Bdur), fur Pianoforte t Violine und Violoncell. (Dem Erzherzog Rudolph gewidmet. J Arrarig. Fiir das Pianoforte zu 4 Handen v. C. Czerny. Rondo daraus fiir das Pianoforte zu 4 Handen. Hymne nachBeethoven von Goethe (Wer darf ihn nenneaetc.) zusammenge- ftigt und zur Bekranzung des Bonner Denkmals bei dessea feierlicher EnthMung am 11. August 1845 dargebracht v. F. Schmidt. (Nach diesem Trio arrangirt.) Andante daraus fiir Physharmonica und Pianoforte v. Lickl. Op. 98- An die feme Geliebte. '(Ein Liederkieis von Al. Je it teles), fiir eine Singstimme mit Begleitung des Pianoforte. Op. 99- Der Mann von Wort. (Gedicht von F. A. Kleinschm id), fiir eine Singstimme mit Begleitung des Pianoforte. Op. 100. Kerkensteln. (Ein Schloss nachst Baden). (Gedicht von I. P. Kupp rech t), fiir eine oder zwei Singstimmen mit Begleit. des Pianoforte. , Op. 101. Sonate (Adur) , f. d. Pianoforte. (Dpr Freiin Dor. Ertmann gewidmet.) Op. 102. Zwei Sonaten (Cdur, Ddur) , fiir pianoforte und Violoncell (oder Violine). (Der GrUfln Marie von Erdbdy, geb. Grdfirivon Niszky gewidmet.) Arrang. fiir das Pianoforte zu 4 Handen v. C. Czerny. Op. 103. Grosses ©ctett (Esdur), fur 2 Clarinetten, 2 Oboen, % Horner und % Fagotte, iia'ch dem Quihtett Op. 4. arrangirt vom Componisten. Siehe Op: 4. 27* 92 L. van BEETHOVEN'S COMPOSITIONS. Op. 104. Quintet* (Cmollj, fiir 2 Violinen , 2 Bratschen und Violoncell nach dem Trio Op. 1. No. 3. arrangirt vom Componisten. Siehe Op. 4. No. 3. Op. 105. Sechs varilrte Themen isehr leicht ausfiihrbar) , far das Pia- noforte allein , Oder mit beliebiger Begleilung einer Flote Oder Violine. (In zwei Lieferungen) . Op. 106- ftrosse Sonate (Bdur), fur das Pianoforte. (Hammer— Clavier) (Dem Erzherzog Rudolph, Cardinal und Furstbischof von Olmiitz gewidmet.) Arrang. Fiir das Pianoforte zu 4 Handen v. Ebers. Adagio daraus mit Worten (Das Grab ist. tief und stille) fur eine Singstimme mit Begleitung des Pianoforte v. Bubner. '" Op. 107- Zehn varilrte Themen, fiir das Pianoforte mit beliebiger Be- gleitung einer. Flole Oder Violine. (In fiinf Lieferungen). Op. 108- Fiinfumlzw anzig schottlsche Iiieder (mit deutscbem u. englischem Te^t) , fiir, eine Singstimme , begleitet von Pianoforte, Violine u. Violoncell obligat. (Dem Fursten A. B. Radsiwill gewidmet vom Verleger.) Arrang. 1. Heft (der 1. Ahsgabe. Enthalt No. 22. 1. 2. 3. 4. 5. 6. 7. der gegen- wartigen) dreistimmig fur Alt (oder Mezzo-Sopran) , Tenor und Bass mit willkiihrlicher Pianofortebegleitung v. Iulius Becker. Op. 109- Sonate (Edur), fiir das Pianoforte. [Dem Frmlein Maximiliana Bren- tano gewidmet) Op. 110. Sonate (Asdur), fiir das Pianoforte. Op. 111. Sonate (Cmoll), f. das Pianoforte. {Dem Erzherzog Rudolph gewidmet.) Op. 112. Meeresstille und gluchliche Fahrt. (Gedicht von I. W. von Goethe), fiir 4 Singstimmen mit Begleitung des Orcliesters. (Dem Verfas- ser der GedicMe, dem unsterblichen Goethe gewidmet.) Dieselbe in Partitur, Klavierauszug und Singstimmen. Siehe Op. 419. Op. 113. 114. Die Ruinen von A then. Ein Fest-u.NachspielmitChoren und Gesiingen zur Erbffnung des Theaters in Pesth im Jalire 1812 verfasst von A. v. Kotzebue. (Dem Kbnig Friedrich Wilhelm IV. von Preussen gewidmet von den Verlegern.) Partitur. Ouver. in Partitur. (Op. 113.) Orchesterstimmen. Arrang. Fiir das Pianoforte zu 4 Handen. Fiir idas Pianoforte allein. Feierlicher Marsch und Chor(No. 6.) in Partitur. (Op. 114.) Orchesterstimmen. ' - Fiir das Pianoforte zu 4 Handen (Feierlicher Einzugsmarsch , aufgefuhrt in dem Gelegenheitsgedicht: ,,Die Weihe desHauses," bei Eroffnung des neuen Theaters in der Josephstadt zu Wien.'Op. 114.) Fiir das Pianoforte allein. Derwisch-Chor fiir das Pianoforte zu '4 Handen. Fiir das Pianoforte allein. Op. 115. Crosse Onvertiire (Namensfeier) (Cdur)', fiir das Orchester. (Dem Fursten A. B. Radziwill gewidmet.) Dieselbe in Partitur. Arrang. Fiir das Pianoforte zu 4 Handen v. C. Czerny. Fiir das Pianoforte allein von demselben. Op. 116- Terzett, (Tremate, empi, tremate!) fiir Sopran , Tenor und Bass mit Be- gleitung des Orcliesters. Klavierauszug. Op. 117. Onvertiire zu Kunlar StephanfEsdurJ, (gescb/ieben zur Er- offnung des Theaters in Pesth) fiir das Orchester. Dieselbe Jn Partitur. Arrang; Fiir das Pianoforte zu 4 Handen v. C. A. v. Winkhler. l Triumphmarsch aus der Oper Konig Stephan fiir das Pianoforte zu 4 Handen v. C. A. v. Winkhler. L. van BEETHOVEN'S COMPOSITIONS. 93 Op. 118- Klegisc|ier Gesang fiir 4 Singstimmen mit Begleitung von 2 Vio- linen, Bratsche und Violoncell Oder des Pianoforte. (Seinern Freuride Iohann Freiherrn von Pasqualati gewidmet.) Op. 119. Zwoll'nene Bagatellen fur das Pianoforte. Op. 120. 33 Veranderungen (fiber einen Walzer von Diabelli, Cdur), fiir das Pianoforte. (Anlonie von Brentano geb. Edlen von Birkenstock gewidmet.) Op. 121*. Adagio, Variationen und Rondo (Gdur) , (Ueber- Ich bin der Schneider Kakadu). *»• Op. 121 b : Opferlied (von Friedrich von Mattliison) , fiir eine Sfngstimnic mit Chor und Orchesterbegleitung. Dasselbe in'Partitur. Arrang. Klavierauszug und Stimmen. Siehe.Op. 128. Op. 122. Bimilcslied (von I. W. v. Goethe), fiir 2 Solo- und 3 Chorstimmen mit Begleitung von 2 Clarinetten, 2 Hornern und 2 Fagotten. t)asselbe in Partilur. Orcbesterstimmen. Arrang. Klavierauszug und Stimmen. Op. 123. Slesse. (Missa solemiis) , (Ddur), fur 4 Solostimmen , Chor und Orcbe- ster mit beigefiigter Orgelbegleitung. (Derh Cardinal und Erzbischof von 01- miltz Erzherzog Rudolph Iohann gewidmet.,' Dieselbe in Partitur. Klavieraus- zug. Singstimmen complet. Chorstimmen. Eine kurze erklSrende Beschrei- bung iiber die Messe. Op. 124- Festouverture (Weihe des Hanses) (C dur) , fiir das Orchester. {Bern Fiirsten Nicolaus von Galitzin gewidmet.) Dieselbe in Partitur. Arrang. Fiir Pianoforte und Violine v. A-. Brand. Fiir 2" Pianofortes zu 8 Handen. Ebenso v. G. M. Schmidt. Fiir das Pianoforte zu 4 Handen v. C. Czerny,. Ebenso v. C. W. Henning. Fiir das Pianoforte allein v. C. Czerny. Op. 125- MTeunte Symphonie mit Schlusschor fiber Schiller's Ode „An die Freude" (Dmoll), fiir das Orchester, 4 Solo- iind 4 Chorstimmen. (Bern KSnig Friedrich Wilhelm III. v. Preussen gewidmet.) Dieselbe in Partitur. Arrang. Fiir das Pianoforte zu 4 Handen v. C. Czerny. Fiir das Pianoforte allein. Erster Theil von Fr. Kalkbremer. Zweiter Theil (Finale) v. Esser. Schlusschor im Klavierauszuge v.' Rink. Fiir das Pianoforte allein. Einzelne Chorstimmen. ' Op. 126- Sechs Bagatellen fiir das Pianoforte. Op. 127. Quartet* (Esdur), fiir 2 Violinen, Bratsche und Violoncell. (Dem Fiirsten Nicolaus von Galitzin gewidmet.) Dasselbe in Partitur. Arrang.' Fiir das Pianoforte zu 4 Handen v. Rummel Nach dem Adagio hieraus : Beethoven's Heimgang : ,,Es wand sein Geist sich von des Staubes Banden los , " fiir eine Sopranstimme mit Begleitung des Pianoforte. Op. 128. Der Kuss. Ariette (Gedicht von Weiss e), (Ich war bei Chloen ganz allein), fiir eine Singstimme mit Begleitung des Pianoforte. Arrang. Fur; eine Singstimme mit Begleitung der Guitarre. Op. 129. Rondo a capriecio (Gdur), f. d. Pianof. (Aus dem Nachlasse.) Op. 130. Quartet* (Bdur), fiir 1 Violinen, Bratsche und Violoncell. (Dem Fiirsten Nicolaus von Galitzin gewidmet.) Dasselbe in Partitur. ft. 94 L. van BEETHOVEN'S COMPOSITIONS. Op. 131. Qiiartett (Cismoll), fur 2 Violinen, Bratsche jind Violoncell. (Dem Baron von Stutterheim gewidmet.) Dasselbe in Partitur. Op. 132. Quartet* (Amoll), f. 2 Violinen, Bratsche u. Violonc. [Dem Fwrsten Nicolaus von Galitzin gewidmet.) (Aus dem Nachlasse). Dasselbe in Partitur. Arrang. Fur das Pianoforte zu 4 Handen v. A. B. Marx. Op. 133- Crosse Fuge (tantit libre, tantit rccherchee) , (Bdur) , fur 2 Violinen, Bratsche u. Violoncell. (Dem Cardinal Er'zherzog Rudolph gewidmet.) Dieselbe in Partitur. SieheOp. 134. Op. 134. ftispsse Fuge Uantot libre, taniot rechei-chic), (B dur), fiir das Pianoforte zu 4 HSri'd'eri, nach der Fuge Op. 133. arrangirt vom Componisten. Op. 135. Quartett (Fdur), fiir 2 Violinen, Bratsche und Violoncell. (Seinem Freunde Iohann Wolfmeier gewidmet.) (Aus d. Nachlasse). Dasselbe in Partitur. Arrang. Fiir das Pianoforte zu 4 Handen v. A. B. Marx. Op. 136. Der glorreiche Aiigenblick. Cantate (gedichlet von Dr. Al. Weissenbach), fiir 4 Singstimmen und Orchester. Am Wiener Con- gresse 1814 zum ersten Male aufgefiihrt. (Dem Kaiser von Oesterreich Franz I., dem Kaiser von Russland Nicolaus I. und dejn Kbnig von Preussen Friedrich Wilhelm III. gewidmet von dem Verleger.) Partitur. Mit anderem Texte auch unter dem Titel : Preis der Tonkunst. Cantate (gedichtet von Fr. Rochlitz), fur 4 Singstimmen u. Orchester. Partitur. In einzelnen Gesang- und Orchester- stimmen. Im vollstSndigen Klavierauszuge. Die Singstimmen hierzu apart. Arrang. Fiir das Pianoforte zu 4 Handen v. C Cztrrvy. Fiir das Pianoforte allein v. C. Czerny, Op. 137. Fuge (Ddur), fiir 2 Violinen, 2 Bratschen, und Violoncell. (Componirt am 28. Novbr. 1817). Arrang. Fiir das Pianoforte zu 4 Handen. Fiir das Pianoforte allein. Op. 138. Ouverture zur Oper Leonore (Cdur), (Aus dem Nachlasse, Componirt im Jalire 1805). S.iehe Op. 72. Ouvefture No. 1. MISCELLANEOUS AND POSTHUMOUS WORKS: A. Fur das ©rchester. Allegretto (Esdur) (Beethoven's Freunde Ch. Holz gewidmet von den Verlegem.) (Aus dem Nachlasse nach der Original-Partitur.) Trinmplimarsch aus dem Trauerspiel Tarpeja (Cdur). A r rang. Fur das Pianoforte zu 2 Haiiden. Ebenso zu 4 Handen. B. Fur Slrelchinstrumente. Andante favori (Fdur), fur 2 Violinen, Bratsche und Violoncell. Arra ng. Fur das Pianoforte allein. Lied darnacfa (DIesen Frieden , diese Wonne) fur eine Sopran- oder Tenor- stimme mit Begleitung des Pianoforte v.Sikher. C Fur Blasinstrumeiite. Rondino (Esdur), fur 2 Oboen, 2 Clarioetten , 2 Fagotte und 2 Horner. (Aus dem Nachlasse.) Arrang. Fur das Pianoforte zu 4 Handen v. C. Czerny. Fur das Pianoforte allein v. C. Czerny. Drei Duos (Cdur, Fdur, Bdur), fur Clarinette und Fagott. ]>. Fiir das Pianoforte mit und oline Begleitung. 1. Fur das Pianoforte mit Or Chester, Quartette, Trios. Rondo (Bdur). mit Begleitung des Orchesters. (Aus dem Nachlasse). Arrang. Fiir das Pianoforte m. Begleitung von 2 Violinen, Bratsche u. Violoncell. Fiir das Pianoforte zu 4 Handen. Fiir das Pianoforte allein. Drei Original-uuartette (Esdur, Ddur, Cdur), (Aus dem Nachlasse). Arrang. Fiir das Pianoforte zu 4 Handen. Eleines Trio in einem Satze (B dur) , fiir Pianoforte, Violine und Violoncell (1813 componirt.) (Seiner kleinen Freundin M. B. gewidrnet.) Trio (Esdur), fiir Pianoforte, Violine und Violoncell. (Aus dem Nachlasse.) 2, Fiir Pianoforte und Violine (oder Violoncell). Rondo (6 dur), fiir Pianoforte und Violine. 96 L. van BEETHOVEN'S COMPOSITIONS. Zwolf Variationen (Fdur), f. Pianoforte u. Violine. (Thema aus der Oper Figaro: Se vuol ballare). (Eleonore von Breuning gewidmet.) Zwolf Variationen (Gdur), fur Pianoforte und Violine (oder Violoncell). (Thema aus dem Oratoriura : Judas Maccabaus). Ar rang. Fur das Pianoforte zu 4 Handen. Sieben Variationen (Es dur), fiir Pianoforte und Violine (oder Violoncell). (Thema aus der Oper : Die ZauberflOte : Bei Miinnern, welche Liebe fiihlen.) Arrang. Fiir das Pianoforte zu 4 Handen. 3. Fur das Pianoforte zu 4 Handen. Sechs Variationen (Lied mit Veriinderungen : Icli denM.dein) (Ddur), (Geschrieben im Jahre 1 800 in das Stammbuch der Gr&fkmen Josejlme Deym imd Therese Bruns- wick und beiden gewidmet.) Variationen (Thema vom Grafen von Waldslein), (Cdur). 4. Fur das Pianoforte allcin. a) Sonaten, Rondos, Praludien, Variationen etc. Drei Sonaten (Esdur, Fmoll, Ddur), (componirt im 10. Lebensjahre). (DemCardi- nal und Ftkrstbischof von Olmiitz, Erzherzog Rudolph gewidmet vom Verleger.) Leichte Sonate (C dur), (Eleonore von Breuning gewidmet.) Zwei leichte Sonatinen (G dur, F dur) . Rondo (A dur). Praeludium (Fmoll). Derniere pensee musicale (Bdur). Arrang. Fur das Pianoforte zu 4 Handen. Neun Variationen (Cmoll), (Marsch v. Dressier. Componirt im lO.Lebensjahre). Neon Variationen (A dm), (Thema aus der Oper : Die Mullerin : Quant' e piu bello. Hat der Miiller). (Dem, Fiirsten Carl von Lichnowsky gewidmet.) Secbs Variationen (G dur), (Thema aus der Oper : die Miillerin : Nel cor piu non mi sento. Mich fliehen alle Freuden). Zwolf Variationen (Cdur), (Menuet a la Vigano). Zwolf Variationen (A dur), (Thema: Danse russe, dansee par M"« Cassentini , aus dem Ballet: das Waldmadchen), (Der Grafln von Browne geb. von Vietinghoff gewidmet.) Acht Variationen (Cdur), (Thema aus der Oper: Richard Lowenherz: Une flevre brulante. Mich brennt ein heisses Fieber.) Zehn Variationen (B dur), (Thema aus der Oper : Falstaff, von Salieri : La stessa, la stessissima.) Sieben Variationen (F dur), (Thema aus der Oper : das Opferfest : Kind , willst du ruhig schlafen) . Acht Variationen (Fdur), (Tandeln und scherzen). Dreizehn Variationen (A dur), (Thema aus der Oper: Das rothe KSppchen : Es war einmal ein alter Mann). Sechs Variationen (sehr leicht, Gdur). Arrang. Als Lied f. eine Singstimme mit Begleitung des Pianoforte (Holde Liebe, deine Freuden) . Dasselbe mit Begleitung der Guitarre. Sechs leichte Variationen (Air suisse), (Fdur), fiir Pianoforte oder Harfe. Viemndzwanzig Variationen (Vieni , Amore), (Ddur.) (Der Grafm von Hatsfeld , geb. Grdfin von Girodin gewidmet.) .» L. van BEETHOVEN'S COMPOSITIONS. 97 Sieben Variationen (God save the King) (Cdur). Fiinf Variationen (Rule Britannia) (Ddur). Zweiunddreissig Variationen (CmoIIJ. Acht Variationen (Ich ban' ein kleines Hiittchen nur) (Bdur). b) Tiinze und Marsche. Sechs landlerische Tanze. Arrang. In der Collection complete des Valses origin, recueillies et arrang. par C. Czerny. No. 8 -r- 13. Sieben landlerische Tanze. JP Arrang. In der Collection complete des Valses orig. recueillies et arrang. par C. Czerny. No. i — 7. Zwolf deutsche Tanze, welche in dem K. K. kleinen Redoutensaal in Wien aufge- fiihrt worden. Arrang. Dieselben ursprunglich fiir 2 Violinen lind Bass unter dem Titel : Alle- mandes de la Redoute de Vienne. Dieselben in der Collection complete des Valses orig. recugillies et arrang. par C. Czerny. No. U — 35. Sechs Contretanze. Arrang. Fiir 2 Violinen und Bass. Menuett (Esdurj. Sechs Menuetten. Zwolf Menuetten, welcbe in dem K. K. kleinen Redoutensaal in Wien aufgcfiilirt worden. Arrang. Fiir 2 Violinen und Bass. Militairmarsch. (Aus dem Nachlasse). , Arrang. Fiir das Pianoforte zu 4 Handed. K. GJesaiige und Iiieder iMit und olinc Begleitung. 1. Mohrstimmigc Gesange. Canon fiir Sopran, Alt, Tenor und Bass. Gesang der Monche aus Schiller's Wilhelm Tell fiir 2 Tenore und einen Bass. Schlussgesangaus dem patriotischen Singspiel : Die Ehrenpforten, (DieguteNach- richt), fiir eine Singstimme und Chor mit Begleitung des Pianoforte. 2. Einstimmige Gesange und Lieder. Der Abschied (La partenza), fiir eine Singstimme mit Begleitung des Pianoforte. Andenken (von Matt hi son), fiir eine Singstimme mit Begleitung des Pianoforte. Arrang. Mit Begleitung der Guitarre. Empfindungen bei Lydien's Untreue (Gedicht nach dem Franzosischen) , fiir eine Singstimme mit Begleitung des Pianoforte. Gedenke mein , f. eine Singstimme m. Begl. des Pianoforte. (Aus dem Nachlasse). Sechs deutsche Gedichte aus Reissig's Bliimchen der Einsamkeit , fiir eine Sing- stimme mit Begleitung des Pianoforte. Arra ng. No. 1 . In einem Hefle mit Gyrowetz und Seyfried. (3 Gedichte aus Reis- sig's Bliimchen der Einsamkeit.) No. 3 und 6. zusammen. No. 3. In einem Hefte mit Giuliani, Moscheles, Reichardt, Kanne und Hum- mel. (Der Jiingling in der Fremde in 6 Strophen.) No. 2. Mit Begleitung der Guitarre. No. 3. 6. Ebenso. 98 L. van BEETHOVEN'S COMPOSITIONS. Drei Gesange fiir elne Singstimme mit Begleitung des Pianoforte. Arrang. No. 8. 3. (Mit Resignation). No. 3. Einzeln. No. 1. 2. 3. Mit Guitarre. No. 2. 3. Mit Guitarre (zusammen mit Resignation und Abendlied). Ich liebe dicb, fiir eine Singstimme mit Begleitung des Pianoforte. Arrang. Mit Begleitung der Guitarre. Lied aus der Feme, fiir eine Singstimme mit Begleitung des Pianoforte. Zwei Lieder fiir eine Singstimme mit Begleitung des Pianoforte. Arrang. No. 1. (Zusammen mit: Das Geheimniss&So oder So. 4 deutsche Ge- dichte Heft 2.) - No. 2. In derselben Samml. Heft 1. Mit Begleitung der Guitarre. Der freie Mann, fiir eine Solostimme und Chor mit Begleitung des Pianoforte. Arrang. Mit Begleitung der Guitarre. Dasselbe unter dem Titel : Maurerfragen ,,Was, was ist des Maurers Ziel?" fur eine Singstimme mit. Begleitung des Pianoforte. Ein Lied fiir die toge d. F. c. a l'O. d. Bonn , mit unterlegten Worten v. • : • er. dass ich dir vom stillen Auge, fur eine Singstimme mit Begleit. des Pianoforte. (Geschrieben in das Album der baierischen Hofstbigerin Regina Lang.) Opferlied fiir eine Singstimme mit Begleitung des Pianoforte. Arrang. Mit Begleitung der Guitarre. Vergl. Op. 121. Die Sehnsucht von I. W. von Goethe. Arrang. Mit Begleitung der Guitarre. Seufzer eines Ungeliebten von G. A. Burger und die laute Elage von Herder, fur eine Singstimme mit Begleitung des Pianoforte. (Aus dem Nachiasse nacli dem Originalmanuscript). Trinklied , fiir eine Singstimme mit Begleitung des Pianoforte. Der Wachtelschlag, fiir eine Singstimme mit Begleitung des Pianoforte. PRINTED BK BREITKOPK AND HARTEL , -LEIPSIC. The lions p atBoim in which L.Y.Beefliovpiiwasharii situuatecL in LKe Rmzie - s L:ree t . )) J MMBMiftab-r f^ dfriJ* ^, ,,^- .1^ .^iJH^j^fi^.r^W. jfl^t^A^ 1 #^ BEETHOVEN S TOMB in. the clnircixy/o'tL of "Waehrin^ ,:near Vienna. 11' 6" M§1l. inau§urdted the 10^ e Au^tl&^5.