Ludwig van Beethoven was a German composer and pianist, a pivotal figure in the transition between the Classical and Romantic eras in classical music. He was baptized on December 17, 1770, in Bonn, Germany, and died on March 26, 1827, in Vienna, Austria.
Beethoven is widely regarded as one of the greatest composers in the history of Western music. His works rank among the most performed pieces in the classical music repertoire. His career is conventionally divided into early, middle, and late periods. The early period, where he honed his craft, is typically considered to have lasted until 1802. His middle period, sometimes characterized as “heroic,” showed individual development from the styles of Joseph Haydn and Wolfgang Amadeus Mozart and lasted until around 18. During this time, Beethoven began to grow increasingly deaf. His late period, from 1812 to his death, extended his innovations in musical form and expression.
Some of his most notable works include the Symphony No. 5 in C Minor, the Symphony No. 9 in D Minor with the famous “Ode to Joy,” the “Moonlight” Sonata, the “Emperor” Concerto, and the “Archduke” Trio. His only opera, Fidelio, was first performed in 1805 and revised to its final version in 1814.
Beethoven’s personal life was marked by struggles, including his gradual hearing loss, which led to total deafness. Despite this, he continued to compose masterpieces, and his music remains a testament to his genius and the enduring power of human creativity.
Parts Supplied with Fingerings and Bowing Marks by Engelbert Röntgen.
The Breitkopf Originals series opens up a fascinating view into the Breitkopf & Härtel publishing-house archives.…
Parts Supplied with Fingerings and Bowing Marks by Engelbert Röntgen.
The Breitkopf Originals series opens up a fascinating view into the Breitkopf & Härtel publishing-house archives. The focus is on its rarities and treasures, together with milestones in the history of interpretation for works of the Classical and Romantic repertoire, presented by the most prominent artists of their time.
Edited by Engelbert Röntgen who in his foreword writes that he was asked “to produce a complete edition of Beethoven’s string quartets supplied with bowing marks and fingerings, I undertook this task on the basis of the critical complete edition of these quartets, published in 1862. First of all, it seemed necessary to change the original slurring in some places to suit the bowing technique, with regard to performing and expression. In the quartets from Beethoven’s early period, the performing marks often lack the accuracy and completeness that is required for an exact interplay, whereas they are given in the quartets of his later period almost everywhere with the greatest detail and precision. Furthermore, the before mentioned scores contain a number of mistakes, which in all likelihood may have crept into the manuscripts as writing mistakes. I have therefore endeavored to carefully add the missing performing marks, as well as to correct the incorrect notes, without, however, claiming to have done everything that is questionable.”
R.R.P 52
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