[87]Musical Times, September and October 1877.
[87]Musical Times, September and October 1877.
[88]Here is one, in the 8th Variation—Woelfl, 8th VariationTo hear this music (MIDI), clickhere.To view the Lilypond source file, clickhere.
[88]Here is one, in the 8th Variation—
Woelfl, 8th Variation
To hear this music (MIDI), clickhere.
To view the Lilypond source file, clickhere.
[89]Mendelssohn, too, complained that Dussek was a prodigal.
[89]Mendelssohn, too, complained that Dussek was a prodigal.
[90]The one in D minor has often been performed at the Popular Concerts.
[90]The one in D minor has often been performed at the Popular Concerts.
[91]1822-1892.
[91]1822-1892.
[92]The original title is: "Sonata per il Cembalo ò Fortepiano di F.W. Rust, 1788."
[92]The original title is: "Sonata per il Cembalo ò Fortepiano di F.W. Rust, 1788."
[93]It is curious to note that in the supplement of the Breitkopf & Härtel edition of Beethoven's works there are two little pieces entitled "Lustig und Traurig."
[93]It is curious to note that in the supplement of the Breitkopf & Härtel edition of Beethoven's works there are two little pieces entitled "Lustig und Traurig."
[94]E. Bach published six easy clavier sonatas in 1765, but Neefe probably refers to earlier and more important works.
[94]E. Bach published six easy clavier sonatas in 1765, but Neefe probably refers to earlier and more important works.
[95]Besides those mentioned, he published in 1774 six new sonatas, also variations on the theme "Kunz fand einst einen armen Mann."
[95]Besides those mentioned, he published in 1774 six new sonatas, also variations on the theme "Kunz fand einst einen armen Mann."
[96]"As your Royal Highness seemed to be pleased with the sonata in C minor, I thought it would not appear too bold to surprise you with the dedication of it."
[96]"As your Royal Highness seemed to be pleased with the sonata in C minor, I thought it would not appear too bold to surprise you with the dedication of it."
[97]The opening theme of that same symphony—Haydn, opening themeTo hear this music (MIDI), clickhere.To view the Lilypond source file, clickhere.Haydn, opening themeTo hear this music (MIDI), clickhere.To view the Lilypond source file, clickhere.recalls, curiously, the last movement of Beethoven's 8th Symphony; and still more so in the form in which he first sketched it—Beethoven, 8th Symphony, last movementTo hear this music (MIDI), clickhere.To view the Lilypond source file, clickhere.
[97]The opening theme of that same symphony—
Haydn, opening theme
To hear this music (MIDI), clickhere.
To view the Lilypond source file, clickhere.
Haydn, opening theme
To hear this music (MIDI), clickhere.
To view the Lilypond source file, clickhere.
recalls, curiously, the last movement of Beethoven's 8th Symphony; and still more so in the form in which he first sketched it—
Beethoven, 8th Symphony, last movement
To hear this music (MIDI), clickhere.
To view the Lilypond source file, clickhere.
[98]Schindler, by the way, relates in hisBiography of Beethoven(3rd ed. 2nd Part, p. 212) that, already in 1816, when there was a proposal made by Hoffmeister to Beethoven to issue a new edition of his pianoforte music, the master conceived the intention of indicating the poetic idea ("Poetische Idee") underlying his various works. And the biographer adds: "This term (i.e. poetic idea) belongs to Beethoven's epoch, and was used by him as frequently as was, for example, the expression 'poetic contents' by others—in opposition to works which only offer an harmonic and rhythmic play of tones. Writers on æsthetics of our day declaim against the latter term;withgood reason, if it refer to programme-music;withoutreason, if they extend their negation to all Beethoven's music, and deny its poetic contents. Whence that tendency, which so frequently manifests itself, and that strong desire to give pictorial explanations, especially of the Beethoven symphonies and sonatas, if they contained nothing but a well-ordered harmonic and rhythmic play of tones, and if they—or, at least, some of them—were not based on some special idea? What other composer creates this almost irresistible desire?"
[98]Schindler, by the way, relates in hisBiography of Beethoven(3rd ed. 2nd Part, p. 212) that, already in 1816, when there was a proposal made by Hoffmeister to Beethoven to issue a new edition of his pianoforte music, the master conceived the intention of indicating the poetic idea ("Poetische Idee") underlying his various works. And the biographer adds: "This term (i.e. poetic idea) belongs to Beethoven's epoch, and was used by him as frequently as was, for example, the expression 'poetic contents' by others—in opposition to works which only offer an harmonic and rhythmic play of tones. Writers on æsthetics of our day declaim against the latter term;withgood reason, if it refer to programme-music;withoutreason, if they extend their negation to all Beethoven's music, and deny its poetic contents. Whence that tendency, which so frequently manifests itself, and that strong desire to give pictorial explanations, especially of the Beethoven symphonies and sonatas, if they contained nothing but a well-ordered harmonic and rhythmic play of tones, and if they—or, at least, some of them—were not based on some special idea? What other composer creates this almost irresistible desire?"
[99]Mr. E. Pauer, in his preface to Ernst von Elterlein'sBeethoven's Pianoforte Sonatas explained for the lovers of the musical art,—a valuable and interesting book,—remarks: "Herr von Elterlein's design is not so much to describe the beauties of Beethoven's sonatas, as to direct the performer's attention to these beauties, and to point out theleading and characteristic features of each separate piece" (the italics are ours).
[99]Mr. E. Pauer, in his preface to Ernst von Elterlein'sBeethoven's Pianoforte Sonatas explained for the lovers of the musical art,—a valuable and interesting book,—remarks: "Herr von Elterlein's design is not so much to describe the beauties of Beethoven's sonatas, as to direct the performer's attention to these beauties, and to point out theleading and characteristic features of each separate piece" (the italics are ours).
[100]The Finale of a Sonata in A flat by Cramer, one of three dedicated to Haydn, is said to have suggested to Beethoven the Finale ofhisSonata in A flat (Op. 26). Dr. Erich Prieger, who has recently published a facsimile of the autograph of Beethoven's sonata, in his preface quotes some passages from the Cramer Finale, which certainly seem to show that the Bonn master was to some extent influenced by his predecessor. Here is the second of the three passages quoted:—Cramer, Sonata in A flat, FinaleTo hear this music (MIDI), clickhere.To view the Lilypond source file, clickhere.
[100]The Finale of a Sonata in A flat by Cramer, one of three dedicated to Haydn, is said to have suggested to Beethoven the Finale ofhisSonata in A flat (Op. 26). Dr. Erich Prieger, who has recently published a facsimile of the autograph of Beethoven's sonata, in his preface quotes some passages from the Cramer Finale, which certainly seem to show that the Bonn master was to some extent influenced by his predecessor. Here is the second of the three passages quoted:—
Cramer, Sonata in A flat, Finale
To hear this music (MIDI), clickhere.
To view the Lilypond source file, clickhere.
[101]Woelfl's "Ne plus Ultra" Sonata would have long been forgotten but for Dussek's "Plus Ultra." Seechapteron "Predecessors of Beethoven."
[101]Woelfl's "Ne plus Ultra" Sonata would have long been forgotten but for Dussek's "Plus Ultra." Seechapteron "Predecessors of Beethoven."
[102]In Steibelt's two sonatas (Op. 62), for instance, the airs "If a body meet a body," "Jesse Macpharlane," and "La Chrantreuse" [Transcriber's Note: So in original, probably should be "Chartreuse"] are introduced. In his Op. 40 we also find "The Caledonian Beauty," "The Maid of Selma," "'Twas within a mile of Edinbro' town," and "Life let us cherish." Woelfl's sonatas (Op. 35, 38) also contain Scotch airs, and his "Ne plus Ultra" has variations on "Life let us cherish."
[102]In Steibelt's two sonatas (Op. 62), for instance, the airs "If a body meet a body," "Jesse Macpharlane," and "La Chrantreuse" [Transcriber's Note: So in original, probably should be "Chartreuse"] are introduced. In his Op. 40 we also find "The Caledonian Beauty," "The Maid of Selma," "'Twas within a mile of Edinbro' town," and "Life let us cherish." Woelfl's sonatas (Op. 35, 38) also contain Scotch airs, and his "Ne plus Ultra" has variations on "Life let us cherish."
[103]1773-1853, court organist at Heldburghausen.
[103]1773-1853, court organist at Heldburghausen.
[104]1766-1826, court organist at Freising.
[104]1766-1826, court organist at Freising.
[105]Notice, in each case, the falling interval in the second and fourth bar.
[105]Notice, in each case, the falling interval in the second and fourth bar.
[106]Verstohlen geht der Mond auf, blau, blau Blümelein, etc.
[106]Verstohlen geht der Mond auf, blau, blau Blümelein, etc.
[107]The long arpeggio leading up to the first note is omitted.
[107]The long arpeggio leading up to the first note is omitted.
[108]In the British Museum copy the "XII. Sonate da Chiesa, Opera Quinta" of Bassani are bound up with "Sonate a Tre" by Giacomo Sherard. In plain English, the latter composer was a certain James Sherard, an apothecary by profession. The Bassani sonatas here mentioned were published at Amsterdam. Hawkins tells us that "an ordinary judge, not knowing that they were the work of another, might mistake them for compositions of Corelli." The first violin book has the following entry:—"Mr. Sherard was an apothecary in Crutched Friars about the year 1735, performed well on the violin, was very intimate with Handel and other Masters." This copy, which possibly belonged to Sherard, contains also the following, written apparently by the person into whose hands the book passed:—"Wm. Salter, surgeon and apothecary, Whitechapel High Street." The various sonatas, too, are marked in pencil—some asgood; others,very good. The date, 1789, is also given—the year, probably, in which the volumes became the property of W. Salter.
[108]In the British Museum copy the "XII. Sonate da Chiesa, Opera Quinta" of Bassani are bound up with "Sonate a Tre" by Giacomo Sherard. In plain English, the latter composer was a certain James Sherard, an apothecary by profession. The Bassani sonatas here mentioned were published at Amsterdam. Hawkins tells us that "an ordinary judge, not knowing that they were the work of another, might mistake them for compositions of Corelli." The first violin book has the following entry:—"Mr. Sherard was an apothecary in Crutched Friars about the year 1735, performed well on the violin, was very intimate with Handel and other Masters." This copy, which possibly belonged to Sherard, contains also the following, written apparently by the person into whose hands the book passed:—"Wm. Salter, surgeon and apothecary, Whitechapel High Street." The various sonatas, too, are marked in pencil—some asgood; others,very good. The date, 1789, is also given—the year, probably, in which the volumes became the property of W. Salter.
[109]These sonatas were afterwards published at Amsterdam as Corelli's, being marked as his Opera Settima. On the title-page was written "Si crede che Siano State Composte di Arcangelo Corelli avanti le sue altre Opere."
[109]These sonatas were afterwards published at Amsterdam as Corelli's, being marked as his Opera Settima. On the title-page was written "Si crede che Siano State Composte di Arcangelo Corelli avanti le sue altre Opere."
[110]Seechapteron Haydn.
[110]Seechapteron Haydn.
[111]She was surely the daughter of François Hippolite Barthélémon (son of a Frenchman and of an Irish lady), who was on intimate terms with Haydn, to whom the sonata above mentioned is dedicated.
[111]She was surely the daughter of François Hippolite Barthélémon (son of a Frenchman and of an Irish lady), who was on intimate terms with Haydn, to whom the sonata above mentioned is dedicated.
[112]Samuel Wesley (1766-1837), nephew of the Rev. John Wesley, was a gifted musician, and is specially remembered for his enthusiastic admiration of John Sebastian Bach. The letters which he wrote to Benjamin Jacob on the subject of his favourite author were published by his daughter in 1875. He also, in conjunction with C.F. Horn, published an edition of Bach's "Wohltemperirtes Clavier."
[112]Samuel Wesley (1766-1837), nephew of the Rev. John Wesley, was a gifted musician, and is specially remembered for his enthusiastic admiration of John Sebastian Bach. The letters which he wrote to Benjamin Jacob on the subject of his favourite author were published by his daughter in 1875. He also, in conjunction with C.F. Horn, published an edition of Bach's "Wohltemperirtes Clavier."
[113]He is described on the title-page as "formerly Composer to several Cathedral Churches in France." Buée's name is neither in Fétis nor the Pougin Supplément.
[113]He is described on the title-page as "formerly Composer to several Cathedral Churches in France." Buée's name is neither in Fétis nor the Pougin Supplément.