Beethoven's Studies

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CORNELL
UNIVERSITY LIBRARY
GIFT OF
Vernon Wagner
MUSIC
Cornell University Library
MT
40.B41
1853b
in
Louis van Beethoven's Studies
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
text.
the United States on the use of the
http://www.archive.org/details/cu31924022487866
LOUIS
VAN BEETHOVEN'S
STUDIES.
V^k
v^gssfm
LOUISJAN 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
after
first
German
edition of this
work, published soon
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

have therefore pre-
such high value to the world of Art, that no one would venture
to take
away from
it,
or add a line to
it.
served
in its original
it
form, with the utmost conscientioushis
ness
as
was found among

I
posthumous papers
tautological
only
here and there have
omitted
some
examples of
one and the same rule, which the zealous pupil had worked
out for his
own
benefit
of such prolixity;
the limits of the

all
work
did not allow
but
to
B's marginal notes are retained.
These studies are not
be regarded as a complete systematic
book of
instructions
but rather as possessing peculiar interest

aetual course
in their brevity
and conciseness, and as being the

etc.
,
of Thorough-Bass, Counterpoint
through with Albrechtsberger
,
which Beethoven went

tuition
whose
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
that
his
his future
works.
It
may indeed be
asserted
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
He
For a
fair
specimen of
his compositions see the Libera", p. 63.
died at Vienna, 1841.
VI
PREFACE.
audacity of his genius

fetters of
which prompted him
to
shake
off the
pedantry and
old-fashioned prohibitions. His creative

the Past, as
art,
it
spirit carried
him
far
beyond the prejudices of

which he
also enabled
him
to enlarge the
boundaries of his
lived.
ced him
I
in
advance of the age

little
in
and pla-
have
to
add
is
to these
remarks;
,
the
genuine-
ness
of the Studies
unquestionable
and,
apart from the
collateral interest attached to
them
they are of great intrinsic
value to
all
young musicians who

difficulty in
desire to get at the kernel
without
unnecessary
I
breaking the shell.
Feeling that this
work ought
to
be rendered accessible
to
English readers
yielded to the solicitations of the Publishers,

translating
and undertook the task of
and re-editing
it;
to the
new German
ticated
edition
have added some interesting and authen-
anecdotes
of Beethoven,
critical
and
to this
volume
have
further
appended a few
remarks upon his works, togeprivate history
ther with
some
to
notices respecting his
which
appeared
me desiderata,
now
;
as filling up blanks in the un-
satisfactory sketches of his life hitherto
known
to the public.
Music
is
so universally cultivated in England, and is

in
making such rapid progress

sure of
its
America, that a work

its
like this is
public
twenty-five years ago

to professional
circle of readers
would have been confined

scattered dilettanti:
it
musicians and a few
rari nantes in gurgite vasto
them
little,
:
is
a blessing for both these great nations that the barbarism

all
which depreciated and
but ignored the claims of music, can

to
no longer be made a ground of reproach book be honoured

in
may
this
promoting, however
the interests
of that divinest Art!
Hamburgh, 1853.
HENRY HUGH PIERSON.
CONTENTS
OF THE FIRST PART.
FIRST SECTION.
SYSTEM OF THOROUGH-BASS.
Page
CHAPTER
The signatures
I.
CHAPTER
The treatment
of discords
.
II.
18
CHAPTER
Harmony
III.
19
CHAPTER
The organ-point
TV.
47
CHAPTER
Entire system of Chords
V.
49
CHAPTER
Chords of suspension with one
interval
VI.
52
VII.
CHAPTER
The same with two
intervals
56
CHAPTER
The same with three
intervals
VIII.
59
CHAPTER
Chords as derived from the change of bass
.
IX.
61
CHAPTER
Chords of the 9th, 11th, and 13th
X.
63
'
VIII
CONTENTS.
SECOND SECTION.
THEORY OF COMPOSITION.
Page
CHAPTER
The elements
of Composition
I.
67
CHAPTER
Definition of the
II.
word counterpoint
70
CHAPTER
The five species of simple counterpoint
III.
,
CHAPTER
Examples of the same
,
IV.
as written in
two parts
V.
77
CHAPTER
The
first
species of simple three-part counterpoint
89
**
,
CHAPTER
VI.
91
Second species of the same
CHAPTER-VII.
Third species of the same
95
CHAPTER
Fourth species of the same
VIII.
. . . . .
.
99
CHAPTER
Fifth species of the
IX.
.
.
same
103
CHAPTER
X.
107
First species of strict simple four-part counterpoint
CHAPTER
Second species of the same
XI.
110
CHAPTER
Third species of the.same
.
XII.
. .
...
1 1
CHAPTER
Fourth species of the same
XIII.
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
Imitation
I.
140
CHAPTER
The two-part fugue
II.
165
CHAPTER
The three-part fugue
III.
172
CHAPTER
The four-part fugue
IV.
185
CHAPTER
The choral fugue
V.
21
CHAPTER
Double counterpoint in the octave
VI.
827
CHAPTER
Double counterpoint Double counterpoint
in the tenth
VII.
237
CHAPTER
in the twelfth
VIII.
jgvv
w
CHAPTER
IX-
? T
247
tg
Examples of all three species
of double counterpoint
254
CHAPTER X.
Inversion
277
CHAPTER
The double fugue
XI.
285
CHAPTER
The canon
XII.
303
APPENDIX.
Fragments. Hints for vocal composition
314
On
the Recitative
for 2 violins
315
Andante and Allegro
and
cello
325
CONTENTS OF THE SECOND PART.

Biographical notices of Beethoven
Traits of character and anecdotes
3
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
3S
39
Baptismal registry
The
funeral
it
Circular invitation to
42 43
Autopsy
Necrologue
Elegiac.stanza
44
by
Grillparzer
45
46
48
50
Poems and epitaphs on Beethoven

Beethoven's
monument
at
Bonn
and works
at
Remarks upon
his character
The commemoration-festival
Bonn
54
56 70
Hymns performed
Choral melody
at the funeral
Explanation of the engravings

Catalogue of his works
i
74 75
PLATES.
Facsimile of Beethoven's handwriting.
The medals 'struck

His
in
honour of B.
cemetery
,,
monument
in the
at
Wahring.
Original sketch of the
Adelaide", facsimile.
His
monument
of the
of the
at
Bonn.
in
in
View
house
house
which he was born.
View
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.
FIRST SECTION.
99Fifths.
9
Pure.
Diminished
or imperfect.
b
Augmented.
#s or *
Z3T.
*a=
Sixths.
il&sc:
iljac
E
Extreme.
#6 r
Diminished.
Minor.
b'
Major.
^^
b6
dlgE
zar
Sevenths.
Diminished.
b
Minor.
b?
Major.
g^P=
5ac
Octaves, or Eighths.
:J|ac
32T
I2C
Pure.
Gar
Diminished.
E
Augmented.
#8
b8
Ss
*c
dq&z
rsr
Ninths.
k
SYSTEM
-OF
THOROUGHBASS.
When
signs
the signs of Transposition
become necessary
to the progression
of intervals, which have not been presupposed
by
the original key, these
must be written as
in the following examples.

in the original
The
intervals
which are included
key are
called natural
intervals, flat or sharp,
majpr or minor; they are called accidental when
signs of transposition are required to indicate them.
stroke through the figure, or a sharp
jjt
at the side of it,

e. g.
either
on
the right or the
-f
jy.
y.
left,
raises the interval half a tone higher;
-t
*
# 5#
;
m
8
~&~
3C
if 8
flat
(;
placed either before or behind the figure lowers the interval

e. g.
in
similar proportion , half a tone
2 e^
fcs
<S>
1*S>-
*
|y
rr
T^=f^
5.
*r
-tg
[?7
*J>
--=--
M=l
\t-
The sign of Resolution

position; e. g.
.
h (or
natural) reinstates the interval in
its
former
fea
_
lis
k
FIRST SECTION.
In order to lower an interval
a large p or
fca.
by a whole tone
it
;
(in
the flat-keys or scales)
two small
bfea-
\fy
must be placed before
e. g.
=t
t^ -^g-
L-l'
>&-
..
Tx-
\f
&?-
b'
\r
\r\>7
The sign
is
of restoration to the statu
quo
after this kind of transposition,
t$, ty
fej^^^^^^^^
m#
aS
e. g.
k*
bb
libs
b'
s
In
some
of the
works
of the old
Composers, and occasionally
.*
in
more
modern ones, we
(annulled) either
find flats prefixed to the piece,
and afterwards resolved
by
a sharp or natural,
or
by a
stroke through the figure;
and a
it
similar* custom in
sharp-keys
e. g.
&
S
BE
dfe_
--J)a=3E|
instead of
31
I
s
.
^
g
*
S'
#5
Another received method of indicating transposition (and one which

renders
it
easier to distinguish at a glance)

e. g.
|?2,
is
to place the sign,

;
|?
or
;
mediately before the figure;

jf5,
K
ty
j},
im,
|?5
lj2, i}4, t)5, t}6, i}7
#4
|f2
#6,^7.
But
it is
better,
for the sake of avoiding the

,
chance of mistakes,
%\, k\,
'*
to
draw
a line through the figure; e. g.

7.
ft,
&
6&
stf;
4,
8, ,
This kind of stroke occurs but seldom in cases of the Octave "or the
Ninth,
note;
it
being then customary to prefix the $ or

#8, #9,
t}8, t)9
;
(7
in natura, or after the

9ij:
ijf,
e. g.
|?8,
>9
or 8#, 9#;
ffl,
8lj",
8>,
llj,
9|?.
1)?.
^6;
And
similarly in cases of the Unison;
e. g.
JH, |H
or
Double sharps,
to
flats
or naturals (resolutions of transposition) are only

:
be found thus indicated

8lft>;
4h-,
or,
X2
6X; 8{^, or X>5, 7^;

over
the
5l$;
t#3;
etc.
Where
note,
the sign of transposition stands alone

,
-ft -refers
as aforesaid, .always to the Third.
fundamental
The
to
figures are always to
be placed over the Bass-part

customary
to write forte
because nearer
mf., rfz.,
them or underneath them
it is
& piano,
is,
pp., dolce etc.
But sometimes, when, for example, one part

,
written over
another , one for the Violoncello
the other for the Contrabasso or Organ,

is
or
in
Fugues, where the entrance of the subject
indicated in the Bass-
part; the simple notes

figures occur.
must be played, and no chords struck before the

obligato passage to execute,
When
the right
e. g.
hand has an
it is
expressed
in small notes,
^
be struck
to half or
at
J4
r
These' chords or single intervals
,
the figured
little
harmony
side of
it,
to
it,
which does
are not to
not stand .'directly over the note, but a
on one
the same 'moment as the bass note, but after
in proportion
one third of the value of that note
e. g.
3=i
still
or
still
id est:
better
id est
better
FIRST SECTION.
Every indicated harmony

stands unchanged
;
is to
be retained
as long as the bass
-note
for instance, the
the middle of the next bar, until a
common new figure
chord is here to be retained to

appears
;
see the example
The same
,
rule holds
good where the bass notes are raised or lowered

,
by an octave harmony, occur
'or where passing notes
belonging to or agreeing with the
in the bass-part;
e.
-W-
5f3
1
I
-4
,J
J J
TT
, ,
SrGkr-& (
=fc
sb
""#-
i l
a f^fe^p
figures, adjacent
feE *t=3
3=.
m^
which can be
divifirst
When
ded
into
two
are placed over a note
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= =J=J=q F =fcd=J
fl
^SEEfÊ
*b
7b
ô- jz?:
%
Where
three figures, adjacent, are placed over a note, the
is
of the
harmonies thus indicated
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.
r^SE^
6
ri=3F=te=
b7
iil^
b?
&-Sb
Eg
m
1
'
I
Efe
Four
to
figures, adjacent, indicate that
each of the required harmonies are
have one fourth of the value
(in duration) of the
fundamental note;
e. g.
Five figures are to be interpreted thus
^^p^^ppi
=s
=^:
*
3 parts (a
m
figures
,
Wlien two
adjacent
dot) the
are placed over a bass note divisible into
minim with a
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=
When
the piece of music
is
I
*S
in triple time,
3
|, |
,
each figured harmony
has half the value of the bass-note.
iEEk fe=6
i
#'
When
monies
It
dr
-sj-
three figures stand Over a note in triple time
each of the har-
has a third of the value of that note.
S=?
mm
-**
35
3^2
&
t
7])
HI
FIRST SECTION.
When
one
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
third to the other
two
figures
e. g.
JPP
1
'
3^9 g9 p^B
fe#
6
S"
Five figures are to be subdivided as follows
-&?4
^^& ^s
5
J-
ttpm
h J.f
U
;
Dots placed after the
-figures
may be used
in this
way
4p "s*
6.
P7
*b
H:
Q"^^
7 b? S 3
3
4j>
fe
=E
^
;
But a horizontal stroke serves the same purpose
e. g.
P^
When
ZeSZ
figures are placed over a dot, the
harmony thus
indicated
is
lo
be placed before the note which follows

the intervals
is
after the dot,

it.
and the duration of
to
be reckoned by the note preceding
a^Jjgfe^Ha mk
\>7
The same
rule
is to
;
9
,
be observed"
e. g.
in case of rests
i.
e.
should they be
longer- than quaver rests
-IJ
E^^
=5
S^:
All figured
harmonies, on the other hand, which are placed over a

i.
short (quaver or semiquaver) rest, are to be played as they stand,
e.
over
the rest,
and the note immediately following' determines the. origin of the
chord
e. g.
S
3Pg
Those harmonies
,
m
rest,
however, which are written over a long

'rest
,
are
indeed to be played over that

the preceding note;
e. g.
but they are formed with reference to
SP- w^?=^
3
U^LMjJ
X =rEEfefeE3E?E
or single interval,
is to
\>i
horizontal stroke intimates that,the accompaniment, as consisting of
the preceding
harmony
za^
remain as
it
was.
t^=t 3t
1==T4=
zkEtk ^
fe
=f^'
i=t=
the
=^
slow, be struck again.
7\>
eêS
may now and
then, especially
Nevertheless, the chord or interval
where
movement
is
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
ming the chord (and which are
FIRST SECTION.
called regular sequences) is
;
sometimes drawn
a horizontal line , but not always
e. g.
=d
fe ra
Regular sequences.
Passing notes.
"
"
" k ' h
After
two , three , or four
figures placed over each other

;
we
it
generally
is
meet with as many horizontal strokes

cessary to change the chord
;
that is
in cases
where
not ne-
e. g.
M-g-hg : =t=t
*
Where
composer
^
3=
^
fc
the rules for the distribution of the figures are to be infringed,

is
and the duration of the notes in the accompaniment

is to
to
be varied
the
insert a horizontal stroke
between
tvfro
figures, as a guide to
his intentions.
h=A
instead of:
zzzz
*e
that the next
interval over
figured
The oblique stroke / placed over a passing note intimates harmony is to be played at the same moment as the
that stroke is
which
drawn
e. g.
M
S
(this
A
tor
,
half-circle
^ drawn
is
over a figure
sign is called, after

to indicate
its
inven-
Telemahn's arch)
used by many Composers
First,
11
the
;
common harmonic
triad
with the lesser Third and the dimi-
nished Fifth
e. g.
g
1

12
FIRST SECTION.
^^
a due.
m
ottava are written,
-4Jj-f-ff
Where
above
the
** mzm&m
all'
words unisono, mis.,

is
unisono,
all'
the passage in the bass -part

,
to be repeated in the octave immediately

;
by the player's right hand when the accompaniment is enriched by chords they must be indicated by the proper figures
again to be
;
e. g.
Tasto solo, or the abbreviation T. S.
means
that the bass note is to
be
sustained without the addition of

res
;
harmony
until the reappearance of figu-
e. g.
3E
T. S.
m
It
x
to
=?c
3C
pause in jthe
would be advantageous
this
adopt the sign
to indicate a
accompaniment,
written;
e. g.
being more appropriate than T< S. and more quickly
=^fn4a^
I J
:
.
^P^
mm
tfz
3i
"CS
&$$mm
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
T=?
i^
R
*b
i-M
m
on account
L.
ESI
may
be.-
Discords of every kind
played freely and without preparation
over permanent (sustained) basses; inasmuch as they cannot be prepared

of there being
no change
;
of bass,
e. g.
which very circumstance ren-
ders their preparation unnecessary

5
b6 v
i
^
14
FIRST SECTION.
=fej&jj-j
-
II
>
& 1^
*fc
m^ ^
i_i_
J^J-J-
fc
^
resolution.
P
hy
it,
-*
*sfe
'gJ
>-
m
is
m
delayed for some time
it
But even where the resolution of a Discord

the introduction of other Discords,
te
still
indispensable to resolve
is
sooner or later, into a Concord.
This kind of writing
called a retarded
Occasionally the right hand does not await the êntrance of the bass-
note over which a Discord

stance
:
is
to
be resolved, but
anticipates
it;
for in-
^ ^
And sometimes
this is
left
done by the
hand
e. g.
^m
T
used
,
Both cases are termed Anticipatio
or a forestalling of the resolution.
A. Anticipation in the treble-part,
when
the oblique stroke /
is
to
be
as in the case of the passing notes before mentioned.

IN
B. Anticipation in the bass -part, stroke
to indicate
15
which the horizontal
may be used,
g
as in case of the regular sequences.
*=P
532
When
m
the bass-note
is is
g=^Ê^ Ê
repeated by the next chord in the treble-part,
it is
before the Discord
actually resolyed,
'"
to
be viewed only as a change
in the harmonic position; e. g.
T=T
^ Eg
When
resolution
;
the note
by means
is
of
which a Discord
,
is to
be resolved (by the

as another form of
;
right hand) is taken
up by the Bass
then in
we
are to regard
it
the Discord
fact resolved
by the Bass
e. g.
=5=F
#
P^Fi
7
ti
6
"
l
^
When
sing notes.
#=^t
S|7
#E
3
is
^
;
Short notes (as quavers) seldom have an individual accompaniment.

they are struck without accompanying intervals they are called pasSingle notes of this kind are not figured
where there
sorts
is
group of them a horizontal stroke

the right
drawn over them , extending

This occurs in
all
as far as
hand
is
required to pause.
of
measures
and tempi , and in very varied shapes.

tes consists of passing notes
;
Sometimes half the number of no-
e. g.
16
Sometimes
FIRST SECTION.
less than the half,
and
this is
more common;
e. g.
P^
b
?fc
[N^seH^
If
rt
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 descriptions
:
First
when
the bass-note
is
permanent
e. g.
-A^Lr^
8 \/7
^T
ISC
ZSZE
ZSO
Secondly.
When
the intervals forming the accompaniment remain

e. g.
un-
changed, while the Bass moves on;
-S
-&
or:
zze:
d=
E2ZE
fS=r:
<s>-
m
zfe
ee3e
=3b
"S
=
f*
^^^^PpS^P^^
Thirdly
,
17
;
when
the
movement
is
extended
to
both parts
e. g\
w=
^m
9
E^Ê^ mjvt^f^ 66
6.
S,
-&-^-T
5^
*b
[7
j.Ijt
it
=?s
*
falls
-J4J
-^
When
the accompaniment
only upon those notes which, in reis called, regufirst,
spect of their rhythmical value, are the longest, the passage

lar (tir.ansilus regularis)
third, fifth
fifth,
;
when
the passing notes are of equal value, the
and seventh are .the longest (on account of the and eighth
are- shorter
1.
:
accent); the fourth,
sixth
e. g.
s.
s.
s.
1.
s.
1.
s.
1.
1.
s.
1.
1.
bass-note, being; anticipated

,
fefeg=
and thus
falling
In case of the accompaniment, which properly belongs to the shorter,
upon the longer note, the

is
passage
is
-termed irregular (transitus irregularis), and">'

:
said to contain pas-
sing notes of permutation
e".
g.
1=
&
3
tL
i
=t=f
S=fe
of distinguishing. this sort of
Besides the usual and far preferable
mode
notes, viz;. an oblique stroke /, we. find them often indicated by a circle
or half circle,
0>
^/>
^^
sometimes by the sign *>;
e. g.
S
o
W=&
b
Eli
W^
o
b?
4-
s
w>
-J
*
V
f^f=T
^m$^
2
This irregular transit consists in fact of those anticipations of Resolution
which have been already mentioned.

Beethoven, Studies.
18
The Discords which
FIRST SECTION.
arise
from the
transit in
both parts, above and
below, cannot always be resolved at once, even though they

legitimately prepared ; e. g.
may have been

*
^^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.
b
7
jjÊ^g
b
6
^^
when
right
all
The accompaniment
is
called united,
the intervals belonging

e. g.
to the single bass-notes are played
by the
hand;
eM 3=t
If,
:=
however., two or.more notes are played

is
by
the
left
hand also, the
accompaniment
called divided; e. g.
A&
6
b*
zsc
19
THIRD CHAPTER.
Fundamental chords are those which give origin
to others
,
and are of
two kinds only; the perfect or pure triad I all others , which are derived from these I
;
and the chord of the Seventh

are called chords of transpo-
sition or
If
secondary
chords,.
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,
î
^^5
Ground-bass.
9
is
intervals ,
^
by a
*3E
by ascending
ff
e. g.
downwards ; but
which
;
Discord *)
usually resolved
diatonic interval
there are
some discordant by a
especially those termed extreme,
are resolved
similar interval upwards, viz:
^
If
^F
*3=
EB
=t
jW =S=i
=t=
qq=
*
n
another part ,
it
*
is
&3C
the Resolution, which ought properly to be made, in the upper part,,

to the bass or to
be carried over
Resolution:
called a permutation of
e. g.
-#-
-at
P^
gÊp
that is, when mony, before
4=*
instead
of:
-W-
feg
X
instead
'
4
"2fct^
3e5
the Bass takes
3
up one
3S
e. g.
of the intervals belonging to the har-
the Resolution occurs; in consequence of which both chords

-one
are based
upon
and
the.
same fundamental chord;
20
If,
FIRST SECTION'.
on the contrary, a whole chord, or only a
single
it
interval,
is
be an
struck in the accompaniment before the bass-note changes ,

anticipated Resolution; e. g.
called
& -&-
not
Antici-'
m 3
This proceeding
^fEE
;
pated.
^nrnm
,
can only then properly be termed an Anticipation

for the
when
it
occurs after a Discord
second Example shews that the false

is
(or diminished) Fifth,
which forms the preceding Discord

this is
in reality resol-
ved beforehand
but
not always the case
e. g.
-fUU
wz
<
?ee
without
Anticipation.
that precisely similar Anticipations
^
be made
1=
The following Example shews

in the bass.
may
without
Anticipation.
m$
at
And
likewise over a sustained bass
e. g.
*-% feflfcj7 "
^
J*
15
?b
8-7(7
;
7;
(7
*%
4t*=
e. g.
Illli
f=F
b
"J23=
in this instance omitting a chord
*B
instead of
^g
also
it
,
by changing
the Discord into a Concord
and vice versa
^
$t=$=kj
The pure
of figures
,
&2
b
3^
-&
b
em
-g.
7
e. g.
ES. BSb
=
$&_
*
into other, harmo*-
triad is a
if
chord which
may be
played without the guidance
but
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

nies without change of bass;
I
to
be resolved
==
II ^=
csz isc
e." g.'
":
I
-&z
3=T<&-
^s-
is=i
sometimes,
when
Discords follow, the triad

;
is
symbolized beforehand,
for
the sake of perspicuity
e. g.
g
8
EgEfe
.-
EE
-A
n
H
5^
|?7
1,3
22
sometimes
it is
FIRST SECTION.
well to distinguish one note of the accompaniment which ap;
pears to be a passing note
e.
g.
0-fi-
-rillfour-part harmony, they
Accidental major Thirds are generally to be found moving upwards
in
may, however, descend;
e. g.
$&
iir.
3-
3=
w^m,wf^m
s
may be
-zzz
Li
?&-
^&G>The common
occasionally,
-^
it;
signature- for the chord of the Sixth.is simply the figure 6
we meet
with .symbols for the other integral parts of
there
are various reasons for this.

All
unmelodic sequence's
avoided by doubling single intervals.
S
*'
if
J:
4=P
_|2-
-t
*
4b
*
rectly after a Sixth,; the
this
-2-
-f=2
4=fi
when
This artifice becomes particularly necessary
a Fifth follows di~
Example shews, what
intervals -may
be doubledj
in
way, and some
varieties in the position
of the 5th and 6th;.
XJ^J^ 3b
5 6
ki,
?=*=*?
5 G
5 6
5
^m
6.
S 6
^
22=
5
&-
f=
PS
<s>-
4=a:
^=
is
In the free (or florid) style the Sixth
frequently used in conjunction
with the Octave
e. g.
si^g jppggi
J
6
^5
^g
23
,
When
the Sixth
is
played together with the diminished Octave
no
other interval is admitted into the
chord
e. g.
t^^^^^^m^^^^
M
The augmented Sixth
ration
,
ft!
tS
,,
K8
is
a Discord which
may be used
:
without prepa-
but must always be resolved upwards
e. g.
^f^f^f^pi
#
m&
The- piscord formed
-mi==t
'^ff =3
Sixth
feS
is
4r
by the diminished
of rare occurrence
e.
=t
El
g=l=p^
?
>i
Pe
Whenin 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

in connection
quick. -*-
Now
Sixth,
and then a sequence occurs,

it
with a chord of the

e. g.
when
becomes necessary
to
adopt five-part harmony;
^mm
m
t--
feteferfe^
f-<
by the
-M-
&
triad
is
K.
The supposititious, diminished harmomo

lized at all, or only
usually either not
symbo-
sign of the false Fifth (B(?).
In the sharp keys
; ;
24
a Natural" (l()
is
FIRST SECTION.
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

symbolized by the figure
^
(
with the
false Fifth is
often
5|?
or
si),
it-
is
advisable to
draw an arch over the

be used.
This" chord is inif it
5b or 5^) where. we intend the diminished triad to
The
dicated
supposititious,
augmented harmonic triad consists, in addition to the
extreme Fifth, of .the greater Third and the pure Octave.
by
the symbol of the extreme Fifth, viz: 8, sJ}, or,

it.
be preferis
red , by the ather figures corresponding to

Discord which
This form of the Fifth
may
not legitimately be used without preparation , and must
always ascend:
e. g.
*J=
^
fe
=fc
^?-
ma
gi
fetesM: -F^ E
The same
Third ,
is
interval,
metamorphosed by a change
.of
bass into an extreme
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^ ^&=
5EEB
The chord
e. g.
Jd=
-p
^^t ^&^f=
t
&~
*E
J.
4=
The diminished
Fifth
(2
of the Six-four is indicated thus,

;
must be prepared
the perfect Fifth
may sometimes be used unprepared
JÛt
i=F3
-(=*-
!g=
b
a*
ibÊ
[>
r^>
#e
is
Here the perfect Fourth
in fact not very dissonant,
but
this
does not
remove the necessity

tus.. (sequence.
for its resolution, except
where
it
Occurs
in a'trarisi-
of passing notes) e, g.
as
i
in
=?=*=&
gi
*
^
Sixth
,
ggsi=E
into the perfect triad
;.
-t t-
The pure Fourth may stand

and be resolved
conjunction with the greater or lesser

e. g.
Jz
-fe
^
But
this is
T m
3=
by a
set of figures,
not always necessary, whether the Bass move on or be sta-
tionary, because other harmonies are often indicated
which harmonies- may indeed postpone

not annul
it
;
the resolution of the Fourth, but do

,i
.
e. g.
mgH^â w\>*
#1
'
Be ry
-r~
m
When,
of the Fourth
,
â=
in a chord of the Sixth, the Third
is
PP
is
delayed by the presence

best treated in
the combination
;
is
a very delicate one and
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.
for the
It is
therefore necessary to indicate them
by a parthe di-
ticular sign-,
convenience of less practised players.

it is
Where
minished Fourth'appears,
in
connection with the diminished Sixth; e.g.
4rT**-
1-
mmmm^mm
M p
r
FIRST SECTION.
conjoined with the greater Sixth
e. g.
26
The augmentgd Eourth
is
rfr?^
Se=
The pure fourth
is
H
;
conjoined with either the greater or lesser Sixth
e. g;
^ pr
=
When
must be retained: e.g.
Is
^r
harmony
Si
E^
the chord of the Six -four, constructed over a stationary bass,
follows or precedes a ehord including the false Fifth, three-part
4
>
,7
4e
.
-
^P
If,
b?
sk &
^1
however, a fourth part
is to
be admitted, the Sixth must be dour

e. g.
bled
(as in
the former case) and the Octave dmitted;
^s
&r
The chord of
J
is
here,
shewn
as a transitory chord,
the passage
is
groperly written, thus
n-
bB
)jr&
l^g
Where
is
m
it
the extreme (augmented) Fourth occurs,, as transitory, the bass
not always allowed to descend;
may
also remain stationary; e. g.
'
27
^t-
we
,
^S-*^ P3=*
^
turely ,
rs=
^^
Example
find the extreme Fourth occurring
In the following
prema-
by means
of Anticipation
instead of being carried over ,

of a passing note: e.
,g.>
somewhat
later, to the Sixth,
by
the.
medium
IS
-(
3
It
*:
i=^
if
is
well to
make
a change of bass effect tne resolution of the false

the second note
Fifth,
aad
also to arrange the figures as

;
were
to
make
it
pass into fhe Octave
e. g.
P =P
3C
gj--sJ-
f^p=p
S TT
(I)
,
?*=:=(=
5t
fe p^F?
W
in
p=a~
the Sixth
'(J)
We. sometimes meet with the pure Fourth and

preceding the chord of Seven-five
to
immediately
is
which case three-part harmony
be used.
-:*P=$T#
m *
l 6
i
&=
b*
b7
*
ii
P^
When
to
fe
e. g.
-M
;
the bass ascends, the chords of '* and *, in succession, are also
be treated as three^part harmony
8r
28
It
FIRST SECTION.
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.
indicated
The chord Of Six-four-three

figure 6
is is
is
by
the Signature J
and the
f6,
only added ^*) where a sign of transposition, $6 or ,
q6,
required; or
when
that chord effects the resolution of the Discord;
e. g.
~*
<
'
d^ ^=fa|
b.
w
or
*S
-F=-<3-
^
by a
e. g.
b*
when
that chord passes on,
transitus regularis, to another interval,
the bass-note remaining stationary;,
&
i
tsSz
w=%
The
chord;
lesser
,
greater
and extreme Sixth , the pure and augmented
Fourth, the lesser and greater Third , are the intervals, which occur in this
e. g.
niN'i
?b
ii
j^WJ
.98 s
b
3
-
sg ^
29
and
Instances of the major Sixth connected with the extreme Fourth
greater Third;
z=fcpa;
%
1=
Hi
* #
a:
Instances of the minor Sixth connected with the pure Fourth and the
lesser Third
ESî
=F=
b'i 3
ife^pfe ^^^^
s 1
^B
be
"
a.
^fesfe
m
fegBE
.3
P^ m
tjS
mm
P
*dteht=dA 4*JMH
bj
^m
-#-#-'
^3
the lesser Third
Instances of the major Sixth connected with the extreme Fourth and
-A
i_i t t=&z
'<sf*
:=^g
1*
B
1
J'
* E^
I
m
major Third
;
b?,
E^
3=^
Ttr
-^;st jji
--
Instances of the -major S,ixth connected with the pure Fourth and the
.
Uj
.J
30
FIRST SECTION. f*i

Instances of the extreme Sixth connected with the extreme Fourth and
the greater Third
It is
sometimes necessary
to
include the Octave in the chord of Six-
four
not so
much on account
of the required fullness of
harmony
as
on ac-
count of the resolution of a previous, or the preparation of 3 subsequent

Discord;
e. g.
--.-i-
jîgpillilpPPî
IS
ispfef^
In passages like the following:
3=f
the following
it
PI
like
chords of the Sixth are to be playejl, because * would gpate too harshly
upon, the ear, as not agreeing with the njelody.: In harmonic sequences
becomes necessary
to
make
the accompaniment fuller; e. g.

1
^4^^^Bfei^^ ^=pf =M i^&p 3

=3=
The chord
signated
of Six -five consists of the Third, Fifth
^
is
and Sixth;
&
de-
by
|, or (occasionally)
by the
figure {?, viz:
when
the false or
flat Fifth is
admitted.
of-
Three toids of Sixths,. the extreme, major and minor-r
two kinds
ter
Fifths, the false
and the pure

this
and lesser
may go lb form
two kinds of Thirds,

e. g.
the grea-
chord
SYSTEM- OF THOROUGHBASS.
31
=t
^pp
is
P^
radg^qy-i-^
In the next Example
Anticipation of the transit
f^ e
U-i^-J 33*=
=
fifth
m fei
3^5
of the
f*
L
Z22T
shewn a permutation
harmony and an
5
f*f=P
te
b5
S^^N^S
Sometimes the Octave must .be admitted as a
resolving or preparing a Biseord
:
part,
on account of
.e. g.
=feLij= i=
-<-,
y-
m^
mmm
*
iJdJ_J[
acrzz
t==t=
.When the 'chord
nary bass, the Octave
3
is
of Six -five 4s resolved into the Six^four, over a statiois
taken as a fourth part, and the Third

this
omitted;
because the':oorrect writing of
combination
is
the Six -four -harmony
alone, the Fourth being thus kept back

Fifth,
and the
latter in like
by manner prepared
the intervention of the pure

;
e. g..
M^TJ-^k^ # 33Eft ppp Ft

=H=
9f*
5
,
=P
*
b
J?*
SS
;-^L-
3C
^F^
#=
S
Z3SZ
33
But
if
FIRST SECTION:
no Fourth follows upon the
Fifth (the bass
being stationary,,
as.
aforesaid] and other intervals succeed, or the .fundamental note is. changed
(moves on), the usual accompaniment of the Six-five harmony

ned. In the above cas.es
this is frequently
it is
is to
be
retai-
customary to .draw an arch over the S (T),

in ^rgan-^points
v.
and
met with
e. g.
U
7
8
Uuu, m a
#
i
.1
4i
-4
m
8
=3=
Z2SZ
AAA eZ^fS*v*?g^\
-b>
"i"
!
^ p.
^
|S 4 n >
ft
hkk*JaU a P*H
i'k "
s
,
6.
6
s
* .t=t=^
ij JU
s
7 tie tie
tv,
is
1 &
J,
J
SEf
J.
i kLj
8^7-6
J,
EiE3E
4
=&
PHT fE ff*
f
and the greater Third
;
-s^
^^
is
it
In this chord the extreme Sixth

e. g.
ml
&.
^^&^^
Mk
iksi
always united with the pure Fifth
feat
>'-u^
i^
Fâ^
T-
=d=
->d-
The following examples shew
struck
together
that the Sixth with the false Fifth
,
55
may be
of
without preparation
and
this
even in the
strict style
composition
t9=F
S=3
m^m PP m S^FrFr^rrirTt^
s
thus
kÂLAU dm &$
P=t
U^M 3m
is
4:
explained
This unprepared pure Fifth and resolution of a Discord
U^M^îk^k^k.
5 F-.
5.8
\?S
,6
|j5
-
S
p=3
4=?
*=*
also the
iâig^^j *
of the parts
,
The retention of a convenient position

melody, as
and of the flow of

treble,
observance of pure progression in the bass and
are justifiable reasons for using the false Fifth without preparation, which
is
by no means
The
indispensable.
false Fifth is
sometimes played together with a duplication of the

not
Third instead of the Sixth, although the Sixth would
have interfered
with the modulation;

tition of the Sixth
this is
done
in order not to offend the ear

is
by a repeis
when
the foregoing Discord
resolved.
,
The Third
often
doubled for the sake of keeping the melody uninjured

partwriting;
e. g.
and
also to avoid
bad
Ul*7Ui
Beethoven, Studies.
54
FIRST SECTION.
% ftEfpEÊ
r^#*
# I
^zr
mk
-h<2r
=22T
11
fe^^ JpP^l
h
^Jîî^ ^M
*
s
-.
=r
He
gspsgf
The CAord of
the
i
are 2, or k\,
i, 4, (by
* ^
"#*
*
and
Sixthis
Second consists of the Second, Fourth,
The signatures
oder:
the
I.
for
it
which the 4th
raised) or +,
The Sixth may be major or minor, the Fourth extreme or pure,

or augmented.
Second perfect, diminished, and
The dissonant
interval
always occurs in the Bass,

note
,
either as a bind (suspension) or as a passing

;
is
always to be resolved downwards
e. g.
IP*
Pi I25t
When
stationary:
zsJEz
*:
:t==t
PPPE^
I
is
3^m
,
*
also
the perfect or major Second

the Fourth
conjoined with the pure Fourth

or descend
it
and major Sixth

e. g.
may ascend
may
remain
ffiF^ s=t= *=
UiJJ m
=tzt-z
J Sfe
4^
4
gfe
j.
JL
mm
JJ,
J-U
w
*
pas?
,.i
..
^fr^frTlT^^^^n^Îlg
ss
iÛd m
1
J
.
J---J
.
p
(the 4th)
tog^M
.
Pi
-<2-
The same
liberties
it is
may be
;
taken with the treatment
of
this
interval
where
connected with the perfect and the diminished Second

e. g.
and with the minor Sixth
iasLJIflLs
-J-
US=E
\3
^t^m^^^m
5
i>
16
1S
M- -*U
b
i^LtijJ
ÛHd^
b b^
b6
'
f^fm^TEpjplg
^
.
l! *
t(-5
EB=t
^^^g
%
j
m a
3=f^
j^y
r*
^t-
?~
u m
1
b6
b6
b_
S=
^F^pÊpg
4 th
When
Sixth,
it is
it
the augmented Fourth appears in conjunction with the perfect
may
subsequently remain stationary or ascend; and similarly
when
the
it
connected with the
augmented Second and major Sixth
but in
latter case the
extreme
may descend
;
in a transitus, provided that
be
carried
up immediately afterwards
e. g.
feUj = W* iplpp
i.i.H m spes ^^ Tr f T fa ^ ^pf^^^

J-rJ
56
g^Hf
1
iJXtU^ I
f*=f
[js
FIRST SECTION.
^F^
cz=acf-|
pSp? rt r-^
j>7
* E^ $U=x=AAJ: 6EfEEfefi
s
Sometimes the extreme Fourth may descend by the extent of more
than one interval
;
e. g.
'.'*>
'
.
.f"_|-
^^
The Second
is
5=
i
to
^^^g^feferrf^ft
doubled in order
cover the bad progression caused
by
this
descent
e. g.
w
No
kk kd. r=r=F
$.
f=fe=^=F=
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
-4)
is
to
be used
e. g.
mus
m
*
Ete
znssz
*2t
=f
b*
wm
3C
Jfe
57
mm
*8
3E
In a case like the following the Sixth must be written with the sign of
transposition, viz:
j ^Mmmm
j
*
%
*.
6
5
i
|
)
The chord of Five-two

other of
contains in fact only the Fifth and Second,
but appears sometimes as a four-part harmony by the duplication of one or

its
essential intervals.
Its
is
signature
is
*.
all
Both the Fifth and

suspensions where a
Second are pure , and the Discordchord of the Second

is
formed
as in
concerned, by the bass;
e. g.
^
When
occur
,
ist
-J31
ISIS
there
is
*
is
r
transit,
f=H =t=5t
or passing notes of permutation
e. g.
an irregular
the augmented Fifth
sometimes to be met with;
^SE
The chord of Five-four-two
being major, the 4th and 2d pure.
Its
-s
consists, of the intervals impjied
,
the 5th
signature
is I
e. g.
Jz :tzzz
Z&2Z
A
--&-
-fefe^
=&

38
The chord
FIRST SECTION.
of Five-three-two consists of the
Its
minor Second , the major
Third, and the pure Fifth.
signature
is
the figure 2 with a Natural,

2';
and
the symbol of the major Third, viz. a sharp placed above the
e. g.
m -&3=3-"
Si?
^=-<B- JZZ
^m
A.
sSe
2Z=
i
*
t=f
is
-tfc
K
ftf
&
This chord occurs sometimes in the irregular transit as an anticipated
chord of Four-three, and

Thirdj
e. g.
conjoined with the major Second and minor
J-
=i=
^^^m
the Third
-F
-#
0-
The chord of the Seventh may appear

and
Fifth,'
in three different forms
st
with
2dly with the Third and Octave, 3rdly with the duplicate
is
Third;
its
signature
;
7 or
its
ingredients are the diminished, the

;
minor
and major Seventh and lesser Third

downwards.
,
the extreme, the pure, and the false Fifth
the greater
and the pure Octave.

or without preparation
The Seventh
is
a Discord which
may be used with
and may be resolved upwards or
Passing Sevenths
may
also
be used as suspensions.
ij
=a^
b
ife
8
im
2
^3
$^
SYSTEM OF THOROUGHBASS,.
If
39
the
first
the Seventh be not struck at the

it
same time as
bass-note of
the bar,
must always descend;
e. g.
P
W
In the following
ZZF.
Examples
is
shown
the proper
method
of duplication
w^
-^ h ^^fefes^^M m f^f^f^f^^^&^^f
r
*f
=P
F
l
g^^P
J
Chords of the Seventh with the greater Third
^=^^m^
p=^=r^
21"=*:
^P^P^^^
'
i
#
S
<g- -<s>
i=m
;
Passing Sevenths must be very carefully treated
e. g.
3Z
J=al
s>-
zdrjg= ~73
'g
J-J-JfJ-j
7 6
5678767671?
2*ULj==
3=f
6
g^
7 6
EEiEES
g^
BÊ^
7 7 7 7
None
of the passing notes
which occur
in these
harmonic combinations
are to be figured
40
FIRST SECTION.
i=**l*=t
n
,,-jq^
US*
=:
pEg
Good progressions
i^=rt-rrt^
of the Seventh
3k
|f##H^^pig^S^g
J-rJ J
5
6
Ji
6
Ji-l
5b
&
it
#5
gfeE^^^gEg
y=tad=fe ^^ ^
^
;
The chord
of the Seventh is twofold

,
it
consists either of the Seventh,
Sixth, and Third , or of the Seventh

its
Sixth,
and Fourth.
In the former case
signature
is
~, in the latter case the

to
Fourth must also be indicated over

is
the bass^note, and

of the Third
the chord of resolution
generally annexed the symbol

I
S T
J
C 7 6
>
as well as that of the Fifth, viz;
iÛ
3
zsz
irl
j-rj
"nt
tx
F3=
3fe
fa
:s^
^lgi
fe
In the transit-
41
we sometimes meet
with the Second /instead of the
Fourth
e. g.
S=?
7
A
#'
rsc.
u'
g^
The chord
of Seven-four is symbolized
Its
by
J;
it
contains,
when complete,
and
also the Fifth or the Octave.
ingredients
may be
the major, minor,
diminished Seventh; the pure Octave, the extremg-, pure, and false Fifth;
the diminished , pure, and extreme Fourth , which
the
last
may be
resolved at
same time
as the Seventh;
e. g.
mt
3
In like
II
ju
^
fe j
II
J~N .MtJ
6
-1
I
I
^pp
i.
7 5 4-3
B=t
the Fourth
;
manner
may be
e. g.
resolved before the Seventh, and
the Seventh before the Fourth
feJÊiE^B *s ^-w-fr-rsrr
S^gsil
3
I
Mum=i
7 6
P^m
&
mm w- &
6 7
3 [;3
,76 |;4
j|=i|E
"i
tt
*r:
Se
Jf -%=^ zsc
^=P=\ =t=^t
fl
jJc*LJ
4
^S S
H*-i
42
>
FIRST SECTION.
ft
^&M= ^H gsr^r-?m ^
:ti
7
U "-
br '4
^s
zst
opposed
is
*
The
the diminished) Seventh, and
is
greater chord of the Seventh consists of the major (as

to
expressed by the figures
it
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
and Ninth;
it
The chord
bass-note
of the Ninth consists of the Third, Fifth,
is
expressed by 9 8
when
it.
the Ninth
is
resolved over the same (a permanent)
but
if
the Ninth be resolved over a subsequent note the figure 9
is sufficient
to indicate
The
greater and lesser Ninth
the extreme, pure,
and
false Fifth,
is
the greater and lesser Third, go to form this chord.

is
The
Ninth
a jDiscord which must always be prepared, and

e. g.
resolved
by
descending;
'
"'
terrî-lffR
l
^m
,
jpv*
gigg
,
-a*
*.
m^
It is
A3
its
not always necessary to resolve the Ninth;

;
resolution
may
also
be postponed
e. g.
i-.
i_J~J
SIS
3 3
I I
*
5
S.
(i
J>
^=F =
^^
1
P6
The Ninth must never be prepared upon the Octave of the foregoing
bass-note , because
this involves a false
progression
see the example
-<S>
rJ
m
ist
m
is
;
*=t
concealed octaves.
The chord of Nine^six contains the Third, Sixth, and Ninth, and
expressed by
as
all
with the necessary signs of transposition annexed
forasmuch
three intervals
may be major
or minor:
e. g.
I J --^=22
i
<w
^=f
IS:
Ujû^. ^TB=m-
g
a
fell
ta
b6
^=a
JrJ
2!=fflf
;t
sJ
|E
%.
*=fbelter.
I ^
i^LJ.
"*
eE
^
is
9 5
8 1?6
.
The chord of Nine-four
consists of the Fourth
Fifth
and Ninth
and
expressed by \ ; in case of these two Discords being resolved , both at once, over the same bass-note, the figures are superadded to the signa-
ture; e. g.
44
.
FIRST SECTION
1^-1 _J
f4f^]yit-fs^
*
may be
,
I.
.1
^=
i
gt
b 7
I Sii
alternately extreme
Ft
32t
either
;
g
is
;
In this chord the Ninth

,
major or minor; the Fifth

is
or pure
or false
the Fourth
invariably pure
e. g.
MHi
3C
If 'the
uj
uj j 3b^ tftc
===
=t 1 a
i
b
i&-
r^=
b<
Ji
5
'tt
^
i-t-
of the Fifth,
T
(which
*s
perfect or di;
Sixth
be taken instead
may be
minished) the Sixth must
^ 1 *ES bi+tLi~^k=t=^ t ^^^ff^rwwm

i
;
be specially indicated in the signature
e. g.
mm
#
*
If
# u7
=t
? s
b'
X
,
^
in addition to the 9th
e. g.
The
ChoriJ of
it
Nine-seven includes
^
and 7th, also
the Third:
is
expressed by
with the proper signs of transposition.
these Discords (9, 7,) be resolved, both at once, over the
same bass-note,
they must descend

I.
to the
8th-and 6th
*=r^ w m ^
:
=fe=T
--&Z
^fcrfî 5fe=
~Jr-
*=
^m\
All three of the intervals
forming this chord'may be major or minor^
ad libitum;
e. g.
Wtti-
?^&pl- ~i
If
4S
the Fourth be taken instead of the Third

,
it
must be indicated by the

is
figure 4
is it less
and as
so
this internal
precedes the other, the transition

(in this combination)
e. g.
easy,
nor
when
is
the Fifth,
to
which
fill
may be
pure, false,
or extreme,
annexed
up the harmony;
tej feha WS*q=Ss

8
!
i~i J ,1
gsî
9
p=^
single. figure i
Se
^s
The pure and
this
;
X
Fifth
The jngredients of the chord of Five-four are the Octave , the

the Fourth'; the signature for
and
it is 4 3 , or J~ in cases where the Fourth is resolved immediately; where resolution of the latter interval is delayed the
is sufficient.
false Fifth,
the pure Octave and
the Fourth are included in
chord
the latter must always be prepared
and be resolved downwards
W
s=f=
3t=t
k&EE^L^ ^m aegfj^
e. g.
\,i
"-
SBkEd *=F*f
^ff^f^P^f^ 3 ^
fe^=
b*
_
with the
^^^^^^P^ m
b*
3
=t
^s
In the free or secular style this chord

sion, consisting of
Fifth.
\
is
sometimes used as a suspen-
the pure
and extreme Fourth, unprepared, together

taken as the next interval descending
In No.
is
the 'pure Fourth
is
and
also
reached by the ascent of a minor 3d
S3
^
1)4
No.
i.
b*
^S=F
FIRST SECTION.
46
In No. % the extreme Fourth is introduced, and prepared
by the prece-
ding note.
4
No. 2.
ISC
^T^^y
^
may be
,
^
is
In No. 3
shewn how
the extreme 4th
omitted as a suspensif-
on
and
its
place only intimated
by a
signature
|he actual accompaniment
having a crotchet rest
*E
No.
3.
gEEpEEg
V
1 '
:
In No. 4 the chord of the Sixth is subjected to
all its
permutations over
the
first
bass-note, and then
made
to pass into the Fourth
both by the
descent of one interval and the ascent of several.
U.
No.
*.
J v
*
4
3
PE
3SC
4=
^^
q
'
Care must be taken not to Jet this harmony be written so as to involve

consecutive Fifths.
4"
-^-
rf
^M
i
PL
r
II
-f
r'
rf
gp^ff
47
FOURTH CHAPTER.
A
series of
harmonic combinations (chiefly consisting of suspensions)

is
formed over one long-sustained bass -note,

point d'orgue.
called
an organ-point, or
The harmony
is
often complete in itself without the soste-
nuto bass
this is
shewn
in the following examples.
The organ-point
is
essentially a characteristic of sacred
music
and can very seldom be used
with
^.j^-J ^^Û-j^ ^m ^p* W^^ & 3 ^

-Jj
effect in secular compositions.
=^
(without bass.)
.J^ ffi 3=t
1 I
good. uuu S
-
-0JB.
Bf
#
p
(without bass.'
p
=*;
8
^
b'
'
^
-3
i?-
r^
ta
=t
ZZb r " -4-
oh
jg-
rT
it
^=
P^.1 ^=
7
I22Z
^^-hr-f^ ^fr^ =f
f^^
32=
^
P
s
fe
48
FIRST SECTION.
L^hkh*sM
*i
i
mmmmmfmm
n
,
*1
|>J
"4
8 |>7
[j7
^4
^
(without bass.)
J1=
8
i=s=
r*r~r
b
?
seESe!
It is
gczisfc
fesfe^
it
g^^g
under the bass-note,
not customary to indicate by figures the harmony belonging to an

T.
organ-point;
S. (tasto solo) is generally written
and the organist may then sustain
both with the manuals and pedals.
fJ-^J-frU^-
The following examples

be found
to consist for the
in
which the
figures are set

jf
down
are in-
tended to give a clear insight into the harmony, which,
analyzed, will
most part of not very abstruse combinations.
4i>
FIFTH CHAPTER.
The
as a concord
,
entire system of Chords.

,
The various forms under whieli the fundamental chord

appears.
viz
the triad
The major
triad,
the minor triad,
the diminished triad.
fl-*S-9-#-t**
Radical chord.
3=**fEff
11
t>
st
permuta-
<
Won:
the chord of the Sixth.
M=
II
-^-
2d permutation
:
the chord of
Six-four.
g^
g-^rU=g_ Sizzn E^==-^:31:

!
Beethoven, Studies.
so
FIRST SECTION
The various forma under Which the second fundamental chord J
viz
the
=a&
Radical chord of
the Seventh.
minor 7 th, major 3rd, pare 5th,
minor 7 th, minor 3rd,

pure
5th
**.&g
1st
-S>
gg
fi s-
a&>
permutation,
gyg-
forming the
chord of
Six-five.
-&G-
g^
2d permutation,
forming the Chord of Sixfonr-three.
<S&-
af
kA>-
s&-
-Or-
3rd permutation
:l
i
forming the chord

of Six-four-two
51
real chord of the Seventh > appears, together with
its
three permutations.
32
The Discords shewn
FIRST SECTION.
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
not
may
occur both in the rhythmical and unrhythmical parts of a bar

to
it is
always necessary
prepare them, and they are in general resolved over the
bass-note which immediately follows them.

besides those given in the above table
;
There are
many
other Discords
Discords in which certain tones are
substituted for discordant or harmonious intervals,

of delaying or suspending the next chord.
and which have the
effect
These chords are termed suspenfaulty
sions, and
may,
for .the
most part, be omitted without involving a

called accidental Discords
,
progression.
They should properly be
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,
without preparation.
All chords
1 st,
however, they are sometimes used
which are originated by suspensions may be subdivided
into chords in
which there
is
only one interval of suspension,

intervals occur,
,
2dly, into chords in

3rdly, into chords
which two such
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
=iF*=
^
,
-&#*
lliii
-gE^
between these
î
intervals
M
clearly
alike
;
g^
difference
,
This Ninth, here changed into a Second,
shews the
which sound exactly
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
*
p
The
Fifth
suspended by means of the Sixth
iifcuflU
=t
6 is
this
The arch over the

marking
the distinction
place)
figure
here very appropriate;, for the sake of
between
its
form of the Sixth (where

:
it
occupies a
permanent
and
$mm
i
passing form, as for instance
P^Ri^Fl
.
The octave
of the triad is also occasionally

e. g.
suspended by means
of the
major Seventh';
fl
fsî
-p-is
Here the difference between the major Seventh and the real Seventh
(which descends by a tone)
observable*).
I Se m*
*)
3~
This
is
obscurely expressed in the original

:
the singularity of the passage
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 though this change 1st chord appears as a minor 7th and then becomes a 4th, as th6 hote F continues to be a 7th (in the 2d bar) if the bass he is fallacious
consists in the permutation of
written thus
^)v
'
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.
i
*
r T
Efc
1
I
^^L-^^Ji^
The suspension
the Sixth
,
of the Third
by means
of the Fourth
;
in the chord of
gives rise to a discord of the Six-four chord
viz
t^p^pr^
^
Sometimes
Seventh
;
F==Af=^m
also the Sixth (in the chord of the 6th)
e. g.
i^ ^
And
where
-**the Fifth
is
also
used as a
suspension of the 6th,
M
is
suspended by the
g=
same
liberty
the
may be
taken with the Ninth (or Second) in cases
this interval
suspends
(or delays) the
Tenth
(or Third)
e. g,
ra~
3C
or
"
^
The chord
of Six-four-nine;
=sc
~~g~
Chords with one interval which suspends the chord of Six-four

e. g.
$^m
P=^
the 6th in the chord of
Six -four
may
e. g.
also
be
suspended by the Seventh
w?
'-
,---=^
-rjr
t:
In the
S3
may be suspended
same jvay the Fourth

e. g.
in the Six-fo.ur
chord
by
the Fifth,
or by the Third
i 3=
^
When
the Sixth in the J chord
is
^g
suspended by the
Fifth
,
the former
must ascend
ppu=p=
2=^
is
=2
Chords with one interval by means of which the chord of the Seventh
suspended;
The chord of Seven-six
^ m
--w-
e. g.
m
suspended by the
The Third
Fourth:
in the
chord of the Seventh may, be
i
-
zz
2=3=
-s?g4
3
m&The chord
of Nine-seven,
e. g.
J^J
=ff sometimes too
A
i
the Sixth sus-
pends the Se-
32=
venth.
S6
Chords with
brie
FIRST SECTION.
interval
by means
of
which the chords of

g.
Six-live,
is
Four-three, and chords of the -Second
may be suspended ;.e.

\.)
the Sixth
suspended by the Seventh;
(in the
chord of
JrJ
the Third
==2f^ p
e
the
Fifth"
by the
Fourth
by- the
Fourth
'
In the free style of writing
S7
-4
3
i
>*
,
The Fourth
and Seventh
alone as
nil
;
Suspension
of
i
by means
the chord of
Six-four.
suspension
^1
i
-r
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.
sometimes
the Third
* b I
",
l*^
3
fct^r-jr
is
added
iEEE
x
and Seventh are suspensions
In the following examples the Fourth and Ninth, the Fifth and Ninth, the Fifth
ii
epg s S
Jfr*
^*=*
j
t-;
^
,
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
In the free (or
FIRST SECTION.
florid) style
thus
m
(Laugh,
*
intervals
my
friends, at such a coxcombical passage!)*)
The chord of the Seventh suspended by means of two
by
-
the Fourth and Ninth,
Sixth;"
Sixth
and Ninth, and

;
diminished Octave
e. g.
J^J-
_L
i
fff
; BJ-^TVsi-
Sg^
*.'
Suspensions of the chord of Six-five
W^
m:
Js&fc
^
:
Suspensions of the chord of Six-four-three
*#^
u
3E
iaâ m
I
if
32
s ) Let
be remembered that Beethoven made this remark long before he had trammels of the antiquated school; his own finest works abound in 1 passages displaying far more license than that which he here ridicules.
it
shaken
off the
P.
Suspensions, of the chord of the Second
M^&kd t I =FS
^=nf
The
triad
-S-t
**-
&
&
intervals.
m
The greater
EIGHTH CHAPTER.
suspended by means of three or four
6
chord of the Seventh: I,

the chord of Nine-four
;
I,
J,
J,
which might he more properly termed
e. g.
ilill^l=pp|lil|i
za.
as
In four-part writing the Fifth

e. g.
is
taken instead of the Second (or Ninth)
m=p=&m^
3
This Fifth
,
tef
t*t
-0
3=t
is
0-
J2Z
,
or the Sixth which

fifth
to
be resolved downwards
may
also
be taken in as a
part in the, harmony.
the Second
often
is
omitted
instead of the
m
7
8
5
^d=d=f
When
made
to
Sixth;
e. g.
=r=p
is
PÊ
is
the
harmony
in three parts,
only the Fourth or Second
accompany the Seventh ;
the choice
depends upon circumstances
60
FIRST SECTION.
i sa
fir
-<=m
J
Jî=J:
5i
^-r
f-f ^ ^ 23 7*3 -* H
78
J
7*3
-'
61
NINTH CHAPTER.
Chords
,
taking their origin from a change of bass,
termed Anticipations.
four, in
which may
also
be
Anticipated triads
chords of the Sixth and of Sixlies
which the suspension or the accidental discord always

4--
in the
bass
e, g.
it
EfeEJ
E i r==
mm
=1=3
known by
-*--*-
w^m
The harmony
x
in the three last
xx
examples
is
the peculiar deno-
mination of the Five-two chord.

Anticipated chords of the Seventh
,
Six-five,
and Four-three.
Wtr
f
6
p= =
7
S
fl
=f=*
3Z
*
2
JIJ-
j;
This anticipated chord of Six-five
is
commonly
called .the Five-four-two
chord.
Sh-
i m
This
is
*
and
is to
usually termed the chord of Three-two,

,
be symboli-
zed by the oblique stroke
thus
i^
p=^
=f=
~fg
g~
62
In
all
FIRST SECTION.
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 m^m^^
a
*'
l^p
=F=r
êMeM
"G'-e
i^^gp|Si|ii^
C
r^
7
w ^m
<
m^g^ v ^k^^m&m^g
fe
"
n^^^ps
TENTH CHAPTER.
65
The chord of the Ninth
is
produced by the addition of a Third taken

a chord of the Seventh;
e. g.
below the fundamental note of
:;s=
0ne
venth be
internal is,
left
,
however, generally omitted
in this
case:
;
if if
the Sethe Fifth
out , the
common chord
is
of the Ninth is
;
produced
be omitted
the result
the chord of Nine-seven
e. g.
P-
^
The chord
of the Eleventh
lies
is
produced by the addition
of a Fifth
and a
Third (that which
between the 5th and the
bass) to a chord of the See. g.
venth, the latter being placed above the 5th and 3rd,
s.
i
In this
way
the
Third, Seventh, and Ninth,

the Eleventh or the
harmony would be in we get what
six parts
is
but by omitting the
called the curtailed chord of

;
common
chord of Five-four
e. g.
i
(!)
by transposition we get
chord of Seven-four.
the
$
(closer together.)
is
<
rsz:
The chord of Nine-four
Qg
The chord of
Five-two
made by
leaving out the
Seventh and Third
Z3C
64
By
FIRST SECTION.
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
Ninth
is
.produced by leaving out the Third and
which, when,
it
occurs
upon
the
Domii-
/rv
&
nant, or Fourth below,
allows of the following permutations, the third of which

the chord of Five-four-two
:
is
generally termed
i
the
first
JS&Z
-*zz-
JS&Z
^sHEL
The chord produced- out

inth, the Seventh and Ninth
of the entire
is
harmony
of the Eleventh, without
g|
it
not very usefuj in that form
but by
transposition bf
we
obtain the chord of Nine-six
i
The chord of the Thirteenth
Fifth
t
is
producedby
the addition of a Seventh,
and Third taken 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;
some
of
its
65
,
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.
3C
ZZ2Z.
in like
manner
four
also the
zsc.
chord of Seven-six:
The chord of Nine-six-four occurs, on the contrary,
for the
most part
itself.
upon the
Sixth interval, or,
if it
be ,in a minor key
upon the Tonic
J-
1 wThe chord of Nine-seven

modulation;
e. g.
r
is
very serviceable in cases of enharmonic
^
1
5
P
#Z
-^
Other specimens of these modulations
-^
&=*=&.
\>i
%=m
Ir
\>7
bi
b
J&
Beethoven, Studies.
zzn
66
FIRST SECTION. SYS.TEM OF THOROUGHBASS.
E|e
b'
fe^:
fe
1221
V#T
g^
The connecting intermediate chords may
also
be omitted, and
as
it
is
allowable to
make chromatic progressions
in the
Fifth's
harmony,
shewn
in the
next example, provided that consecutive
be avoided;
e. g.
w^&WW
ft'
~M
i
ft
\&&~I??
*^si
#
SEfe
fc
n
&~
rn^
k^ \k
.
Jtt
"b b;
b*
3C
SECTION
II.
FIRST CHAPTER.
Of the
elements of scientific composition.

,
There are two kinds of tones

dissonant; the former,
discord*) Of the
or musical sounds
viz
consonant and
latter Fifth,
when combined, produce harmony, and the former we possess five, viz th'e Unison, the Third
: ,
Sixth, and Octave:
of these
some are
perfect, others imperfect.

(as also its
all
The
Unison, Fifth and Octave are perfect; the Third

arid the Sixth are imperfect;
this
Octave, the Tenth)

the various phases
under .which they appear.

be raised or lowered by a
because they
or minor.
catalogue includes They called perfect

are.
because they cannot
ft
or a
(7;
the Third
and
Fifth are. called imperfect

i.
may be
all
raised or lowered at pleasure,

intervals
,
e.
may be made major

,
The remaining
their
the Second
Fourth
Seventh and Ninth

arid the
(together with
ibrms in combination) are Discords,
above-
mentioned Concords immediately become Discords on being removed from

their perfect. or imperfect position,
i.
e.
on being made diminished or extreme.
great difference of opinion exists
among
theoretical musicians
on the
subject of the pure Fourth^ which, being placed between the perfect and
imperfect Concords,
Strict theorists,
may be
is
classed either with the former or with the latter.

science,,
and such as retain antiquated views of the

There
term the
the
Fourth a Discord!
Fourth
*)
(
no disputing about
it.is
tastes
to
my
ear,
when
is
combined with other tones,

relative
)
not in the least degree discordant.

here called a Discord
is
These are only

it
terms
what
is
only dissonant
or unpleasing to the ear

into a
when not combined
with other notes which can meta-
morphose
chord that
shall please the cultivated ear as well as the
Octave or
P.
even the Third.
68
All musical composition
vals, varied
is
SECTION
II.
based upon these elements

to their position
and these
inter(i.
and combined, both as
and
their
movement
e.
the progression from one interval to another) are the materials with which the composer has to work.
tus rectus,
The movement (motusj
is
of three kinds
mo-
motus eontrarius, motus obliquus.

rectus,
The motus
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
e-
distant intervals
together,
i.
e.
in the
same
direction
g.
......
{I 4-
,1
-l/t""
->-
-=
.'
I
,
(by near intervals)
^f= = ="R^^-^^^^^
r F
=
I &E
-kr
zg-g-
y-f-'ifi
y-
~4=i-
(by distant intervals)
3=
=t
*=
,
=E
*
is
~t=
produced by one part
viz: in
intervals.
The motus
eontrarius
or contrary movement,
moving upwards while

direction; ;both parts
moves downwards, progressing by near or by distant

the
other
an opposite
-IE
.*>f*
Jr
*tt
-*-0-
i.
The motus obliquus, or oblique (sidelong) movement

ned
one and the same note repeated more or
mp^m^m^^^m
is
produced by
isr
one part rising or sinking, (by degrees or suddenly) while the other
to
confi-
^^
,
less"
often
e. g.
There are
of
fotir car'dinal rules
bearing
upon these
three different kinds
movement
viz
1st;
69
from one perfect Concord
to another,
equally perfect, the pro;
gression
must be made by
the motus obliquus or contrarius
e. g.
i
r r
-I
-I
'
j-U
^~r
mobe used;
e. g.
8dly; in a progression from an imperfect to a perfect Concord the

tus contraries or obliquus is also to
i
m
;
^
-\=\a perfect Concord to an imperfect
e. g.
of
3dly in moving from movement may be used
all
three kinds
%
4thly
to
;
X
3=
^mm
another equally imperfect
;
1
moving from one imperfect Concord
the latter rule holds good in

e. g.
^mm
1=
The
result of these rules is that the

all
motus contrarius and obliquus

,
-is
to
be used in
to
three cases of progression
and
that the
motus rectus
is
only
be avoided when a perfect Concord follows one

other.
that is imperfect, or
when
two such Concords follow each

rests the
Upon
these three kinds, of
movement
whole system
of harmonization.
V
70
SECTION
II.
SECOND CHAPTER.
The word Counterpoint means dot agaiust dot, because our
used dots
(or points) instead of the notes,
forefathers
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). "
THIRD CHAPTER.
Of the
The
first
five different sorts
of simple Counterpoint.
of a similar description
is
species, in
which only
one. iiote
is
pla-
ced against every other single note ,
the most
common
is
,
it
is indifferent
whether the notes in the composition be Semibreves, Minims, Crotchets or

Quavers.
The Allabreve-measurement of the bar

upper part, which
however, the most
convenient and useful for the beginner.

In the
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
is
,
and
it
better
;
and
safer to use the
motus contFarius and obliquus as much as

far less liable to errors
possible
for these
two forms of movement are
than
the motus rectus, which last

as will
demands
great attention
and
careful treatment,
be seen by the examples.

to the conclusion of the piece
it
With respect
that
is
necessary to observe
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

These two intervals
;
is
to
be
made
at the
in the Octave or in the Unison.
may
also
be used
be-
commencement,
as also the Fifth
though not
in the
lower
part,
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.
Arsis
These
Thesis,
two notes are
technically distinguished
to the
by
the Greek
words
and
and correspond
up-stroke and down-stroke in beating the time.
The
minim which stands
minim
if
71
interval
;
in Thesi
must always be a consonant

if
the other
in Arsi
may be
dissonant
i,
the progression
be gradual, and consonant

Itappears then that
the progression be sudden,
e. to
a distant interval.
no Discord occurs
up;
in this species of simple counterpoint except

lies
when
the
space (or interval) which

e.
between notes separate^ by a Third
is filled
g.
i&
3e
This
filling
^
,
up
or the note in Arsi
may sometimes
also be a Concord,
first
as the following example of a concluding cadence shews, in which the
note in
Thesi must be a Fifth, and the second in Arsi a major Sixth,

lies in
when
first
the plain chant
the bass; but should

,
it
He in the upper part, the
note must in like manner be a Fifth
while the second note must form a
minor Third
e. g.
Counterpt.
Plain chantl
m
fefE
two
last
is
4=1
Plain chant
Counterpt,
It is
advisable to give especial attention to the
bars (the ca-
dence) and to bear them well in mind
when
,
constructing the plain chant.
For the sake of

a,
facilitating the
counterpoint the composer

note
allowed
to write
minim
rest in place of the
first'
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
lie
distant
intervals
cross one another, so that the
highest of them shall
below, an d the lowest above.

of a Third; e.g.
Great-care must
ba
taken to avoid two consecutive Fifths or Octaves in Thesi,

rated in Arsi only
which are sepa-
by the space
^=t=f^
B
*
-t=z.
S
^
8 6 8
=t
6
3
-
Ê
,did not exist
~7S
ISC
for .the intermediate note is looked
upon
as of no accouttt
in fact as
if it
and thepassage. stood thus:
72
T<S^
|
SECTION
II.
4thly,
75
when
the cantus firmus

is
lies
below
it is
allowable to descend from
the Seventh (although that
a Discord) to the
Fifth,
premising that the note

e. g.
which occurs before the 7th must always be the Octave;
3tE
=E=E
B|E
If,
2
lies
however, the canto "fermo
above, the counterpoint

first
may descend
from the Fourth to the Sixth, provided that the

Third to the melody
;
note of the bar form a
e. g.
zsz
3E
fa^g^t
A
biata.
note
like this
Seventh or Fourth
is
called a
permuted note,
nolo, earn-
The
interval of a Third,
lie
which
1st
lies
between the 2d and 3rd note,
ought properly to
between the
and 2d, because then the 2d note

;
would form the Sixth and not
the Seventh
e. g.
3
:
=t
3ESE
(or filling
:f=
up the
intermediate space.]
E$E
Concords, or only
the
first
i
It
appears therefore that in this species of counterpoint either

the* first
all
;
four
that
notes
may be
;
three,
and the 4th a Discord
in like
manner
or,
and third may be consonant, the second and fourth
dissonant
first
the
also
st
and 4th Concords , while the 3rd

last a
is
;
a Discord
e. g.
the
three
may
be Consonants, and the
Discord
3fE
"IÊE
The
ved as
rules as to the various kinds of
aforesaid.
movement
(motus) are to be obser-
The
first
note in Thesi must always be a Concord.
74
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.
feÊgE
E$EE
But'
if
3=t
:
must be
the last bar but one, shall form a Third,
close
;
the canto fermo lies in the upper part, the counterpoint
managed that the final note of after which the Octave forms the
so
e. g.
P
3
1$E
4
G
5
i*feffii=
S^^:fa^
-f*-#
first
S=
tw,o descriptions,
it
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
note being inArsr,,the s'econd in Thesi. This
bind
is
called ligatura or syncope,
and may be of and
viz
as
serving to connect Concords or Discords.

the tw(j,
In the first case

in Thesi
is
placed over
minims which both in
Airsi
form Concords with the
plain chant,' e. g.
m*i
$mz
(SL.
&
first
=t
In the second case the
Concord, but the second
^
-&z
minim
(in Ansi)
must invariably form a
(in Thesi) a Discord;
e. g.
~i?-Si
Ib
for
if
we
all
imagine the second note (G) to be obliterated, or
it
be
really left
out,
e.
three of the intervals form a harmonious (consonant), progression;

..<
.
g.
75
3fE^:
E$L
into the Concord,
ZZZL
In accordance with this rule the Discord
must gradually resolve
itself
but the Concords thus bound together
may move
in wider
intervals, as has already
been seen.
When
the plain chant lies below,
the Second must be resolved
into the
Unison, the Fourth into the Third, the -Seventh into the Sixth, and the Ninth
into the Octave; (he Sixth,
falling
which
;
is
retarded
by the bind upon the Seventh,
upon the
last
bar but one
e. g.
3fÊ&
3
HJdEGEqi:
6
se
a
-
'
.
eht=x(
fi
s
X
_2
-&>-
-&zz
Cadence, or Close.
::f=-
If,
however, the canto fermo occupy the upper part,
the Second
below;
e. g.
is
resolved into the Third, the Fourth into the Fifth, the Seventh into the Octave,
the Ninth into the Tenth; and at the close (in the last bar
but one) the Se-
cond
is
made
to
descend
in a similar
manner,
to the Third
^ 3E
3Z
ISC
W$E^.
I?
m
=
-ss

76
It
SECTION
remains
to
II.
be observed that when, as
it
often
happens
the bind
cannot be made use of, the same bar
may now and

ligatura.
then
be
filled
up with
two notes struck separately, without the
The following progressions are forbidden
3E?E t=rc
2
3JS:
1
W]
1ST
r? & hg t=X X
S- X
9
8
9
=i2Z
XI
8
$E
because they sound
notes connected
3C
and Octaves
it
;
like occult Fifths
for
if
we
imagine the
by
the bind to be removed,

;
will
be seen
that the Fifths
and Octaves are consecutive

~
e. g.
tr^
in short,
77
with
,
exception of those cardinal rules which in the strict style

:
are inviolable
viz
that
none but
all
perfect
and imperfect chords (Concords)
are to be used, and that
Discords (as chords) are excluded,
florid
counterpoint
this style
,
may be
regarded as a more unfettered class of composition in

,
also of more meloThe 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
and as allowing of more variety and caprice
dious vocal part-writing.
bar,
is
that of the
second species already described, viz
above:
t1~T
below:

78
SECTION
II.
contra Fa est diabolus in musica," refers.

like this is difficult to
There sage sing correctly and so the Tritonus and the major and on
Sixth*),
is
no doubt
that a pas-
is
the extreme Fourth
that
account may be
;
-for-
bidden, as
it
is also
the simple Unison in course of a piece in this style

this
and
cannot be denied that
diabolus in musica"
in
(as
the old writers termed
it)
sounds somewhat harsh

,
two-part harmony:
but that objection

in four parts
,
is
removed
in
my
opinion ,
if
the
harmony be written
:3:
e. g.
i
w
I
fe
f 9 a
ISZZ
do not find the transition from

is to
to
F,
in
this case
at all harsh.
succession of Thirds
effect;
be avoided, because they produce a vulgar singof Sixths; extreme-Seventhalso be,
song
and
in like
manner a succession
intervals
and those which extend beyond the Octave must
termed
incorrect.
Cantus firmus
[
Sf
Counter
point.-i
s$
1
ZSE
i^dTSt
fe3:
Counterpoint.
Cantus
firmus.
would thereby produce pure consecutive Octaves
val (c in the example)
to introduce the
79
This inter-
in both parts.
may appear under
various forms and always serve

;
modulation into another key

i
e. g.
J-J
4
:=li
b'
S
^^^gg^m ^
,
br
*l
a".
*-
E=$E
(As leading tone to
*E
D minor.)
(as 4th
*
tone from
S=S-
G minor.)
(as
second
^^J^Pgj^jJ^ffi^gjl *
St
pgB^feiff
S
b'a,
'
^g4J-75-
tone from B minor.)
(as
Uh tone from Gflminor.)
(as6thtonefrom Fminor.
SECOND
SPECIES,
of simple iple two-part counterpoint.
"KB.Counter/
point.
8
=?"-
t=X
8
3
-s>?r
H=^:
6
4,
Cantus
firmus.
$-< E
&
3
3
6
3=3
:fes=F^-
avoided. *) '
Cantus
firmus.
'
,
3=*:
and should therefore be
iVB. This interval is difficult for the singer to hit
s
*.
"
OÊ
3
&
Counter 1
point.
3SES
m ^=ff=^Êp
is
-75
S-
*)
It is
easy enough to sing, but the passage
bad,
and
offensive to the ear.

P.
80
SECTION
II.
THEORY OK COMPOSITION.
NB.
Canto
fermo.
81
S3$E
Counterpoint.
faEEEE J
-S)
-&
za=
g-
s;
=^=
rr?ar_
*
(although
it
-f=-
it
symbolized
NB. here the lower part rises above the upper; the Sixth
it
is
sounds
like a Third)
because the interval

is
is
always reckoned from
the bass. In the last bar but one the Third

a license imperatively demanded produce an enharmonic mi contra
;
prepared by means of the Sixth;

it
for if the
fa.
orthodox Fifth be taken,
would
In cases of triple time (as below) the middle note

all
may be
a Discord
if
three notes proceed consecutively

is
but
;
when
e. g.
their progression is not so
regular the rule
to
be
strictly
observed
d=EEt=t
=^ rt
3=
=t=t
-0J-<5>
^m
F=i
=t==t
\m
2E5
(Continual dropping wears out a stone
attrition
:
rsc
not by force , but
by constant
;
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

the composition
today.)
(in
In the severe church-style

is
which
all
sacred music should be written)
intended for voices only, and on that account the harmony

"
Beethoven, Studies.
82
is
SECTION
H.
in order that the intervals
it is
restricted to perfect
and imperfect chords,
may
also
be easier to sing than the diminished or extreme ones: in this style

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
fifth
the
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.
EE;
fe P=P S
Glo-ri-a
in
ex
-
:t=fc
sis
eel
in
ex -eel -sis
De-ol
two, notes against
In the free style
which allows
:
of Discords .in Thesi,

first
is
one are treated
st
as follows
the
note
may be
a Concord , and the

:
second
the
first
a.
Discord; this, as aforesaid^
called the regular transit
2Iy,
note
may be
a Discord, and the second a Concord, thus forming the

to that class
irregular transit.
But these Discords do not belong

Real Discords must be prepared
that
termed acci-
dental or real.
by the harmony preceding

the Discord as well as the
;
them
and resolved by
which follows them
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

21y, real;
them, accidental Discords by the self-same chord. Discords are then of three
kinds:
1st,
of the regular
and irregular
transit;
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.

rsc:
Cantp
ferrao.
taE
Counterpoint.
lfeEE^ g l=p3
'
83
Pi
pn=
ISC
2 3
10
Counter- [
I
point.
es tt=SEÊ5^fe-^^f^^
ffl
f-0-
^\~?-+ -r-p-=-m-0-fi-l
I
0-3-0-*-
"sSztE
Catos
firrnus.
Here, at NB., the major Sixth (springi'ngfrom

ter effect in the first
'C-
to
above) has a bet-
two notes of the bar
than, in the latter half.

viz
:
Care
must be taken
to avoid
monotony (monotonia)
a repetition of the same

is
passage in two consecutive bars, the bad
effect of
which
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
E3S
Viz
:
#-=fc
=r
EEt
:t=
below
is
The practice ofspringing from a note
to its Sixth
seldom good.
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, unaccented portion of the bar, viz
:
upon
the 2d or 4th crotchet; for instance:
6*
84
SECTION
II.
=3
m$E i*f*
Cantus
flrmus.
i^se
6
=p=
zsc
iVB.
g^=
7*7
1
Counter-
Ssr
Counter- j
point.
te ^^frf#ESfeJa^
3234
$3q=
lie in
1
ft
ses $
because alLfour notes
--*-
*-*
B*
yr =tt
At NB. the Fourth descends
to the Sixth
by a praiseworthy license
the chord, and are therefore easy to sing.
ft^H^raâE^feEÊ
9
^
*
gg
111
1D6
#3
367
10 9
Cantus
firmus.
m&
-0-0-
3=ttt=
fc|3
h^S*
3
fcjj
S
5 S
NB.
=P=tt
-!--
t==tt
S
7
3.
PE
NB. Here the Seventh
is
ISC
made
to glide (as passing-note) into the Fifth, a
very effective close invented by JohannFuchs of Vienna, author

orelipal work upon scientific composition, called, ,Gradus ad
of thefirstthe-
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
it
(the
downstroke of the bar)
which may
also
produce a dissonance;-
is
therefore necessary to
make
Theory of composition.
some remarks upon the viz a note thus bound
:
83
resolution of such Discords (resolutio dissonantiarum)

is
nothing more than a retardation of the one followat liberty

it
;
ing
it
which
is
then set
by descending
to the next Concord,
i.
e.
the note immediately beneath
in this
way
first
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
half of the bar
e. g.
CounterliterJ
poir int.
Efc
-<s
P\-P-
fb
1
1076
ZZT.
fegJEgE ^
&-
76
36
Canto to
fermo. 0.
]
IEÊ
^S^^S^
76
(=*:
^3=3
7
1=1
3 8
fir
=M=
36
-fa
76
76
76
Canto
fermo.
ia$E
ZSL
*
6
9
10
Counterpoint.
fa
=
gîs
NB.
m
9
10
$^~
-r^Tz a=T^
~1
86
SECTION
II.
*
8
6
9
3
5
^
s
-<s :t=t
,<*^.''*
-&_
Canto
fermo.
WE!
\
I
<&-
-&--.
108
iffifei:
10
10
junterpoint.
-a<-
5:"
Bfe-:
8
OS
3Sfe
11* 3=^=
3fc
t=tt
FIFTH SPECIES
of two-part simple Counterpoint.
Counterpoint.
1
[
I
gjgjgBsggi=gfi^
543
5
Canto
fe?Bfto.-*|
^S
6
X
l
-5,
_..
366
8765
p:^
m
Canto
fermo.
3
,
5
.
.
^ 6*636
=t=P=
TT
-^6U-_
rG)
-t=t
@$E
8
404
1234
Counterpoint.
111^11111=
g#jhjibMJ
103 =fe
4
87
E^
6
5
2C
4
3
_<2.
^=t
pptegÊggsi se
In former times,
s
is
*=^-
3-^z
the strictest
when
the art of composition
was shackled by
rules of pedantry, the ornamental
accompaniment, permitted
to this species
of counterpoint, differed but. little from

Italian bravura.
criticise
what
now
called vocal roulades or
is
Tempora mutantur.
How
will a future age regard
and
the most admired works of our favourite composers? Seeing that
almost everything
it is
subject to change, and, alas
to the caprices of fashion,
clear that only

;
works
of sterling value and intrinsic excellence can surto mutability
vive
let
these alone can bid defiance

;
and
false taste.
Therefore
,
the composer, the Poet of sound, disregard the passing
mode
is
and
cling
resolutely to the imperishable laws of the Beautiful; slave of fashion nor of pedantry
also never forget that
it
true Art
neither the
!
soars triumphantly above both
let
us
no genius can make up

motto
is
for superficial learning or
want
of diligence.
The
artist's
persevere:
Life
is
short, Art
is.
long."
Here the
first
species
may be
introduced up to the
last
bar
the second
and third must not be used beyond the extent of a few bars.
Two
quavers
is
may
only be used In the unaccented portions of a bar, and a Minim
better
placed at the
commencement than
;
in the middle of a bar, unless
when con-
nected with the bar following
e. g.
P=l~-
ES3E z&m^
(had)
&m
(good)
SP(good)
fcfcifct
0-t(bad)
(tolerable)
P=
The
if
false Fifth is also forbidden.

it;
To this rule an exception may be'lnade

5 'in F. major:
the key of the piece allow of
for insfance
fr~p
in
to
which form the
flat
5th is more agreeable
my
ear than the pure 5th
88
SECTION
II.
Many of these rules appear to be more pedantic, and therefore more unreawhen they were made, Music, as a practical art, was in its infancy; little besides vocal harmony was known, and the singers were not supported, as now, .by the orchestra so that the comsonable, than they really are. At the time
:
poser could only display his
scientific
;
acquirements by an intricate and pften
heavy combination of parts
melody was neglected and indeed nearly un-
known
the solemnity of the
words which were
set to
music demanded
a certain gravity which easily degenerated into tediousness.
Moreover these compositions were
at .first
intended for performance in
the vast churches of Italy, in which anything like sudden and bold modulation
(such as
is
now common) would have

It
disturbed the unity of the whole and

that the
old masters
produced confusion.
would seem then
must have
ought
considered the matter deeply, and that their calculations led to a very just
result, viz
:
that the simple choral-tunes
which they used
(or invented)
not to be otherwise accompanied than by the simplest and purest harmonies,

to the total
exclusion of chromatic modulations and such
artificialities
plain
chords, one springing naturally out of the other, ensured a

sing effect in those mighty temples,
.in
clear,
and impo-
whose echoing
aisles
a more elaborate
combination would have been
lost;
we must remember
all
too that the singers
required of the composer that he should avoid,
difficult intervals
which
might endanger the purity of their intonation.

that the old masters
But while
were
in
fully justified in
adhering to
we acknowledge simplicity, we cannot

,
desire to imitate
them
their blind obedience to arbitrary laws
some
of
which are mere millstones round the neck

frighten the beginner
ficed for
of Imagination, only serving to
and impede
his progress.
Time goes
on, and
!
what suf-
one age appears

to advocate
to the next as a
woeful short-coming
Let
me
not
be supposed
an impertinent contempt of the great principles

I
of Art, which are' unchangeable;
would only say
that as time advances Art
has also advanced in
many
things: Invention
and Fancy must not be denied

theorists,
the rights and privile.dges
of
which schoolmen-,
It
and barren
crities
would
the
gladly deprive them.

in
would
also
be absurd
to confine ourselves to
narrow bounds
which antient Art was forced

to
to
move why should

;
modarn composer
hesitate
use the
far greater
resources placed at his
command? why
restrict himself to
an antiquated simplicity when both instru-
ments and voices are able

perfect accuracy?
to interpret the
most abstruse conceptions with

to
And
yet
would advise a composer ralher
be common-
place than far-fetched in his .ideas, or bambastic in the expression of them.
89
Counterpoint.
Canto
fermo.
6^S=ESeIe^ e*sN kfe

fc|G
tH
7 6 8
t|3
t:
-&-+
<=
s-
feEEEf
*^ :t=:^=ft
736
7 6
i
& W
Canto
fermo.
73
Êi:=
W-W1
I
Counterpoint.
3456
103
34S
#--
345
3456
=W:
3^ fee E = SpSPeli
6 5
at^=
4
jf
10
963
2^3
KPS3E m
Of
Rule
viz:
3
Si
FIFTH CHAPTER.
the
:
first
species of three-part simple Counterpoint.

is
every chord
ft
to contain a perfect or imperfect
harmonic-
triad
1-31-3
and
fi
or one
of these
intervals doubled, '
but by no '
it is
means the seventh major
tone, or nota sensibilis.
In
two parts
allowed
to write occult octaves, Fifths
and Unisons, provided that the third part moves
in a contrary direction, or that the interval of a Fourth is taken
up by the Bass
e. g.
90
These occult
be
* *
SECTION
faulty progressions will
II.
be clearly seen if the intervening space

notes).
filled
I
up: (writing the

middle of
intervals
in small
The incomplete chords
| are only permissible at the beginning or,endof the piece, and are forbidit,
den
in the
similarly to the chords,
<?
andother discords of that kind.
Care must be taken to secure a pleasant flow fof Melody, and to avoid
difficult
vocal intervals,
endeavouring to keep the voice- parts within the

it is
compass of an octave. For the sake of variety

intervals too often,
well not to use the same
and
to mingle perfect
and imperfect chords together.

the plain chant lies above
| al-
The cadence
or in the middle
;
at the last bar is
made by | when
it
only in case of
jj
its
lying in the bass is the pure triad

;
lowed, and then the chord of
must precede
e. g.
J
94
r_r
Cantus
firmus.
<
Cantus
firmus.
92
(The effect
is
SECTION
II.
certainly not quite so unpleasant, but

It is
still
bad, and
in
cannot approve of
it.)
also permittedftp begin
with a rest, as
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)
include Discords, and also Unisons may in near intervals e. which latter may only occur in Thesi as forming the first and last note intervals, distant in the first bar and at the close. in Discords, as taken No
i.
are allowed except the diminished Fourth and Fifth.
The following cadences
may be made
if"
Chorale.
"-M:
Chor.
\EÊm.
Chorale.
J=t g
>-
:(=*
:W>
'
95
r>-
Canto fermo.
WE
eE=z
VUaL,
t-^
5
Filling-
up
BS
'S>
-;>-
5.6
54
108
->-
==
_s,._
3 2
SI
3
6 3
<-.
Counterpoint.
la
a^
qac
.t=*
-^
PP
m
6
2:52^:
:W:
Counterpoint.
Canto
fermo.
Filling-
up.
94
SECTION
II.
-9<g
Canto
fermd.
^
,
fa
g
3
feÊ
'
Counter-,
point.
^
3
'k
.[
-f
SiMfJfc;
3
I
3
g^yfr
5
teeS
8
5
54
tsU&z-
tj6
8387
Filling-
up.
e3
rar
1
it
In varying the position of the plain chant (thro' the different parts)
is
adviseable to transpose an octave higher or lower
for instance
changing
an Alto into a treble
(violin-clef) part,
or into a bass part;
or a Tenor into a
Soprano part;
etc.
Counterpoint.
FiUingup.
"'"-%
'"
fi^r^^^^g W
8
3
\fZ
[ig
86
^5
326
**
73
ZT. T
ZStl
S3
66
33
53
Canto''
fermo.
m
6
Filling-
up.
3
:S=
2
S G
83S6
348
67
Canto fermo. <
S= ZJL^^ 4-g:
Counterpoint.
g^^jgjg
#3
8
8 5
8734
34-34
3534
gg
&q* 3^
C 5
ztt=st :S:
Canto
fermo.
Counterpoint.
<
Sq^fligg ~&L
M|l
'
!
g^g^fe*EEg =B
6535
^
32 13
8735
-w~
Fiiling-
up.
-g
-Ig-
fcg1
..
g>
ateM:
The
last transposition
93
,
of this ighorale might
be made
for the sake of
variation^ in the following
manner.
Canto
fermo.
M
<
:
<2Z
Counter
point.
^-g^g^^g^grggg^gg^
123)74
8
\>7
f,3
5435
2ZI
Filling-
up.
BE*
Seventh chapter.
Of
the third species of three-part simple Counterpoint.
^s to
Here particular attention

If
be paid
to
those notes which

first
fall in
Thesi.
,
the harmonic triad cannot be introduced on the

to.
crotehet in Arsi
the
composer must attempt
do so on the second or
third.
Discords are
falling
only to be used progressing in near intervals, step by step, and

the unaccented portions of the bar.
upon
The cadences may be modified
as in the
examples
Chorale
S
Chor.
^m
31*3
s
*-i*
96
SECTION
II.
m^&Mgm
Bad.
Bad.
^
Bad.
W
The three
last
3
examples are
intervals
faulty,
;
=zjSP
is
because Discords are taken and avoibecause the octave

suffered to
fall
ded by means of distant
also
upon
the accented half of the bar.
-Unisons, Fifths and Octaves

that Ihey are separated
may occur
,
in the
middle part, provided
by
intervals
and one of the two other parts has a
contrary movement.
Counterpoint.
iE
/
gp^^g^^
8 7 6
,*
3683 10987
2.
&
'I
^
7
Canto fermo
hafc
Filling;
upTT
[&-=
:sc:
jSZ
[^mmm^m^m^m^
10
89
10
10
987
3109
FTSfc-
\Ws
*=t
In transposing "the clioral chant the composer should seek to introduce
new
harmonies.
Canto fermo.
Nl
%d&
368
1
II
^
~EZZ
fl
Filling-
up.
Counterpoint.
âjB^^^jgfe^^
87
3
13
4-
97
i
,
"<5
-1=4122::
^-
4
3
S7G8
343S
343-
2*=3
p3â^feg^^SEfi3
15
**
Fillirig-
up.
EE
Counterpoint.
<
Êggg^ggg^ggggEÊ^
St 32
3
1.
B367 3238.
JSL
ff
u- 3
Canto
fermo.
Has
,^ :ai
s>_
*E
4=4-
3C
J^^P^f^g^^^^^
3123
638-3
S8109
3123
3231
687
In accordance with. the rule already laid

part species),
it
down
(as relating to the
two-
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.
4
5
310a
10
Counterpoint.
1
IgXXrHT^fBf^gpgg^^
Beethoven, Studies.
98
SECTION
II.
58763213
438795
JÊ^ggÊjE^^
Counterpoint.
g
5
ga^^^^^^g
5&6'e|?7
6
5
68l?236.53|7t
s|749*l;<-7S
_<U
-*
.
Canto fermo
<
10
10
Filling-
up.
E-3ÊjEfeJ3âEg=g^Jff^
3
13
#3
@S
Filling,
3
ZSC
:a=
up.
Counter-,
point!
:
V frpz^^^^^^fe IS
-fffct-^frf
3
5
[?5
3532345
:
[>6
72
6'
Canto
fermo.
Jfe m=*=*=^^m rrg?. * -^ I
t
99
*=t
i333
8
S3^^
6
5
=P=
6
^=y fefe^:
7
4-
b}
P&
Of
Thesi
as
3C
EIGHTH CHAPTER.
the fourth species of three-part simple Counterpoint.
Here again the rule demands none but consonant chords inArsi;',in
,
where the
Thus
ligatura occurs
,
Discords, together with such combinations

;
accompany them
it
may be
written
e. g.
*,
|,
\j
, %LThesi.
appears that even the chord of Six-four
|j ? f- \_, fg, may be used in
All Discords are to
be resolved downwards.
''
The incomplete chords
may on^ ^ e " se m ^rsi, ? n(* on'y m foe first and last bar. t> l> Is I The lesser Third may be doubled advantageously, the greater, on the contrary,
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

voices give the idea of darkness.)
rests
resemble light; bass
When
the bass does not
move on, but

(by
upon an organ-point, and
the upper part
moves
in syncopations
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,
viz
when
the Counterpoint lies above, B,

B.
when
in the middle, C,
C.
when below,;
A.
rr
Chorale. Chorale.
3 nf=^
=*=:
Chorale.
g gEgjagj^
or:
â
100
Counterpoint.
SECTION
II.
r~
gj
K
I
gfr
7
^fF^^^r^t^N
7 C 7
G
fi
"
Canto
fermo.
W^F
Fiiling-
up.
BBi
^=P i^gg
3C
&
<fc
fe=
43 98
4
*E
#
35
3G
g
The oblique strokes
3ST
In this example the ligatura of the Seventh occurs too often: this evil
might have been remedied by a few Concords boldly introduced between.

indicate occult Fifths.
Canto; fermo!
^
<
63
zsc
23
45
23
86
23
Filling
up.
wfc
as
Counterpoint.
45
38
^r^'Tt^ ^j^^g^r^^g
E
3
I
P5
S3
68
a.
23
3
'
a
4
45
35
35
45
Ifeggilll
^^^
THEORY OF GOMPOSITION.
is
101
(The nume-
Here also the.ligatura upon the Second
too freely used.
rous instances of retarded Fifths are not considered faulty.
Very strange
with
sant
!
all
respect for the learned doctors they sound to
my
ear vastly unplea-
Filling-
up.
SE
<
3E
Counterpoint
^^^^^^g^g^g^g
5 6
-&=& =t
7G
7G
Canto fermo.
&m
--
-2i
r-e
3C
"^
*=t
IE
ferl
s
7
C
ffl
7
6
*5t
fi
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ISC
Counterpoint.
EgEEgE
pEg
7
6 3
IPS
2:
Filling-
up.
<
zs=
Canto
fermo.
P
2=?=5"-i
eS
7
r
3
S^
*
Seê
:
#3
B^
;sc
.jt'.
a-~ f>
:-
102
Filling-
SECTION
II.
up.
6
Canto
fermo.
<
Counterpoint.
^=^
l
2363 ^-^^^-J-Z4î-C'-^
23
2
3
6 3 5 6
H:
S
=fc=t
3
3^1
H= *=t
Canto
ferfioo.
gpsiê **
At
Counterpoint.
Filling-
up.
The same Chorale varied by means
rent bass
Canto
fermo.
of different counterpoint
105
and
diffe-
Counterpoint.
Filling-
up.
104
Canto
fermo.
SECTION
II.
s
mm
**- ^z 7^-~-
-&-
Filling-
->
up.
10 4
Counterpoint.
aiEfeîâ
â^^^^r^
NB.
m*
234543
83
67GS
363
m
',
-<s>^h
7
1
ti
ft
585
:
gP^g
At
this
1 -'jt
is
teS
in Arsi;
it
tt=t
2
some degree
NB. there
indeed a faulty kind of close, or resting -r point,
called a incision; viz: the
minim D,
but the
fault is in
remedied by the bind which carries

Counterpoint.
on
to the
next bar.
U
~
nnrfrfmif^ S#*P
8
32
3109
Canto / fermo. i
55:
=
221
Fflling-
up.
gfeE
^^P^frffgÊggg
li
i^C
t|7
li:E
3C
P*
3C
105
Filling-
up.
u
'
IP
~&
&
- ~~ ~
r
Counter
point.
<
Canto
fermo.
106
storm.
SECTION
II.
The close with the major Third gives me the same
tranquillizing
feelings as
Filling-
when
=
gaze upon the soft light of the evening-star. *)

CL
"
up.
S687
Canto fermo.
123345
4
5
H-<s-
-&~
<?
5 3 2
1
46
Counterpoint.
10
,rt f-jfrpûu-'
-O-
r-f
4345
IZ2I
3855076
85
68910 ^ 63234
10
6
mz
^ÊgEgEÊ^g^F^fe
Canto fermo.
zzsz
zc
Counterpoint.
Filling-
up.
S
7
6
6
wm^mm^^^^ 78636345
3125678
43
106
^gîyy^
6
5
^
8
-W-
#3
3:
W^
*)
&-
Very true and very

,
poetical
but every real composer will follow his
own
more
P.
instinct in this matter
there being cases in which the minor Third forms a
desirable close than the major.
Here a licence occurs.
I
107
avail
determined for once to
myself of the old
axiom nulla regula sine exceptione" (no rule without an exception)

therefore began with a Sixth,
i.
and
bar,
e.
wrote an imperfect chord in the

But
I I
first
where ex
officio
(by rights) a perfect chord should stand.
solemnly
pledge myself not to commit this mortal sin again (though

I
can't say that
repent of
it)
and in making a four-part composition

then
of
it
will not fail to
write the Third, A, under the Tenor C, which will produce a complete
Quadricinium
I shall
,
have appeased the angry gods ,

then
,
mean
the lear!
ned Thebans or pedants
who must
nolens volens , acquit
me
*)
TENTH CHAPTER.
First species of four-part, strict, simple Counterpoint.
Here every chord

belongs to
it.
In cases
,
is to contain the^ 'fourth interval which properly where the Octave cannot be used without involving
a faulty progression
the Third,
and sometimes (but not
often) the Sixth
may be doubled
provided that neither one nor the other be leading tones.
A judicious
important
,
use of the three kinds of movement (motus) will be found very indeed indispensable
;
attention
must
also
be paid
to the parts
as standing in relation to the
groundbass or foundation, and also to the

:
relation of each single part to the other
for the plain chant
lying in the
upper part, may,
for instance,
form legitimate harmony with the bass, and
yet produce a faulty progression with one of the middle parts - at the
same
time there are cases which render
it
necessary to write occult Fifths or Oc-
taves consecutively; this is an evil that

It is
must be endured now and then!

its
very important to
it
let
each interval occupy
natural position and

of the
not to force
parts;
it
into another
which would disturb the smooth flow
is
therefore a good rule to look forwards
when
writing, that the
progression from one bar to another

sity of
may be. correct, and

to
to avoid the
neces-
making
alterations.
composer by
The position which the Concords are his natural taste and feeling.
occupy
will
be indicated
to the
The keen irony of this passage (not the only one of the sort) cannot escape it was not Beethoven's weakness to fancy that all such antiquated rules, some of which are, like Hamlet's proverb, something musty," were infallible.
*)
the reader
P.
108
Cantus
firmus.
SECTION
II.
Cantus
firmus.
Cq,nlus
firmus.
109
Cantus
firmus.
Cantus
firmus.
Cantus
110
nsc
SECTION
II.
-?*-
85
-tS>-
38
ft ft
56
^s8
S3
IZC
8
5
38
IS
8
3C
3
zz:
5
IK
-Ea-i
Cantus
firmus.
-2g-
zc^.
8
S
rar
3 3
Si
-^-s>-s?
<s^-
Can&us
firmus.

In this species
it is
HI
two
also permissible to write a semibreve instead, of

,
ims in the
;e
last
bar ,but one
in
order to enlarge the cadence with the
of the Chorale.
Some
les)
of the best masters
were
also fond of
making the close
(in
minor
without the Third, either major or minor;
the dreary, colourless
h produces an undecided and gloomy effect similar to that of the plagal ence
l
:
leaving something to be desired
and desire
is
sometimes better
fruition.
nterint.
.tpz^fa dfrif Ol
*
S
^rn ffl fr r?f^

i
S3
38
nto no.
22Z
lingip.
ndapart.
S
fc
6
z^zz zazz ~?g
~ raz
lingip-
38
86
10
'
S7~zs~^ rg=rgr
3
a
S3
lg
i <
4
,
S3
Kg
,
8
...
7
,
into
mo.
BBS
53 56
3 6
10
S
.
nterit.
fr-ti
- rrra
m^
5
6
5E
5n9-
ingP-
IZZ22Z
nterint.
:?=j2Z
^
3
s ^m m
32
83
*8
4 (^
prarai
8
So
85
mg5.
2az Si
S
ZffiZ
:ito
ao.
3t
ZSC
Z3!Z
H2
Counterpoint.
SECTION
II.
Canto
fermo.
Filling-
up.
Foundationpart.
THEORY
FilKngup.
OF- COMPOSITION.
115
-=3Z_
&-
SB
Counterpoint.
ij^
fep
Sg^g
3
ts^t-35-0
-ft
-
=ftf
fefej
W-
16
Filling-
31
up.
Canto
fermo.
=a=
<
:t=t
TWELFTH CHAPTER.
Third species of four-part
,
strict
simple Counterpoint.
Seeing that the four crotchets forming the counterpoint must be in continual
motion
it is
impossible to prevent them from crossing the other adja-
cent parts occasionally, and thereby touching upon the same intervals.
occult faulty progressions
The
as
must
also
be allowed
and are more tolerable in
the middle than in the extreme parts.
Fux excuses even such passages
the following:
fiEfê
and appears, as
they offend
it
^m
this sort of
I
were, purposely to have chosen
examples, in
that
which the pupil cannot help committing
similar faults.
must confess
my
,
ear , and
believe
it
quite possible to harmonize the

,
same
choral chants
by
dint of careful attention
just as strictly according to rule,
and yet without these blemishes.

Beethoven, Studies.
114
Filling-
SECTION
II.
up.
te g^
&-
Counterpoint.
^q^^ppp
=sc
834 6534 3143 3123

Canto fermo.
^3' QJ&
fflj
8
^^
8
+-*
F
5
Foundation-
part
wm
sz
i^ffr
6 7 6
5
rr^ JpJ^J-p^H-^
i
^
:S=
10987
3583
3123
&:
Hi
Canto
fermo.
s
wm
<
_a_
808 3S38 3458 8768

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-3
1234
Filling-
535
123*
^
.
5678
up.
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Counterpoint.
_?
O
-
83
3B3-8
S678 3213
3436
gS^^^J^^^ffpl
1
US
ft
116
Canto
fermo.
SECTION
II.
m
sW
ZZL.
21
Filling-
up.
S:
313 6780
Counterpoint.
8
782 3863
"3
23*
apiîasgfg^
m=5&
-
'
.3,*
m m
313*. G768
3
m^^^^^^^^m
I
.
would beg
parenthetically
to
observe that
,
have had the temerity

it
to introduce a
Dissonant interval here and there

it
sometimes leaving
I
ab-
ruptly, sometimes striking
without preparation:
if I
hope
this is
no high-
treason, ana that the judices doetissiini,

fields
,
evermeet them in the elysian

I
will not shake their perhvigs at
me.
for
it
did this to preserve the vocal
melody intact/ and

seuse,
will
be responsible
before any tribunal of
common
and (good
taste.
Passages that are easy to sing , and are not far -
fetclred;
or difficult to hit, cannot be faulty.

to
These severe laws were only
imposediSpon us
execute
fetters
, ;
hinder us from writing what the

to
human
voice cannot
off
he who takes care not

or at least to
do
this
need not
;
fear to
shake
such
the
make them
less galling
too great caution is
much
same
as timidity
*)
!
117
Satis
pro peccatis
here
is
a long defence of a slight
misdemeanour.
Counterpoint.
Canto
fermo.
Filling-
up.
Fundamentalpart.
118
SECTION
II.
EiE
-s-
l^fe^
K 3
,
S"
wm* 8GT8S2
13
32=
--
E^
ifcBC
^=^
Filling-
3C
3C
up.
ISC
Canto
fermo.
ffiE
Counterpoint..
g=g-ff^3#^-^T^p^
3 B 6
1?_7
1236534
p4
|j fi
Fundamentalpart.
Bi-2-
3C
-m
?^'C
3
^ptffcLBS^te^
^
3
#9
#3
r^ <Szê)..
Z3L
Fjlling-
119
-a~ r^=^~
up.
liSOE
-a
-g
ist
Canto
fermo.
m
@E
+-^:
i
I
."a:
Filling-
up.
ft
3214,543.2
Counterpoint.
^fE^g^PpgEgg^ggll
PE
5=^
6
13
t=t
m^M
strict, simple Counterpoint.
'
#3
THIRTEENTH CHAPTER.
Fourth species of four-part,
The rule
that the
s4v
harmony connected with the bound notes

be so accurately observed.
as will
shall
It is
always
consist of three bars cannot always
some-
times necessary to divide a bap into two halves ,
be seen.
The bound notes

are used
in four^part writing require the

,
same Concords which
when
the binds are removed

,
thus leaving the intervals of accome. g.
paniment the same
whether the contrapuntal note be bound or not ;
^
120
SECTION
II.
be6
3=
1
p
S
rj
eTft
pZL-g,
8 3
aJjâjo
^T^g
143
S>
-&-*>
121
Counter-/'
point.
IS^
5
&k 98
3
3
t=&
85
:sc
43
38
JOl.
e&#$p?m H=t
43
is:
*
Canto
fermo.
^fc zso
3*E
~3ZTTr e
Filling-
7S?
.1
up.
Foundationpart.
m&
NB.
-S-
NB. > :sr

-fi2
Ê^3%
Filling-
-^.
up.
E
Counterpoint.
^=T=a
3
6
3 8
5
Stfei
t
S
fS-^^F^--^ it tt it
3
ffl^^ffitf
j?
Canto
fermo.
676
IST
7J7S
65
36
76
-5E.
76
ff
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
Canto
fermo.
of the same.
2C
3
5
3C
3 6 3
5
Counterpoint.
3E=^ro gp
5
S
<a-
4-3
93
35
Filling-
up.
3fc
i
3 S 8
3a,>, iL ^gM^g^Bi
5
<&&& t=E
4
9
8.,*
'"'
',1
Foundationpart.
IS
122
SECTION
NB.
II.
Filling-
up.
5
m^w
8
NB.
:a:
3C
45
5
5646
^sz
86
56
Canto
fermo.
^sn
36
Filling-
56
56
23
23
53
23
23
up.
3E
3
first
IS2I
2
3
Counterpoint.
rt
ffFfrp^^g^^^
is
At Hie
NB. the Second
doubled, and the Sixth, which would

,
be required
to
complete the harmony of Six-four-two
is
wanting.
to
The second NB. points out the Fourth doubled where, according
rule
,
the Second ought rather to be doubled.

All
depends upon the complete harmony, which here consisting of the
Third , Fifth , and Octave
doubled instead of the Octave

this
whereas
in
the above
instance the Fifth
is
it is
clear that the intervals belonging to
chord are not complete.
One must not be

will
too particular about such
trifling
imperfections in this strict style of counterpoint;
much
profit
may
be derived from these exercises, which
teach the pupil the various
methods of combination , and shew him the

at the
limits to
which he
is
confined
same time he
will learn
where
is
to
depart from the strict rule with
advantage, and where such license

necessary.
Filling-
not only allowed but imperatively
-2--
up.
Counterpoint.
p^Ff-^gg^yf^-^
856
7
fi
#=rzS
763
Filling-
up.
JIIEEEEz*
Canto
fermo.
m.
Z3C
~E1
3c
C3ZI
Filling-
123
_4?
up.
as
Canto
fermo.
fe
8
3
zc
&~
33
58C8
ZOO.
83
Counterpoint.
S3
j^^pg^^gfYffi^jpj
39
8
7638
Foundationpart.
2C
=z g a
221
(Nova Cadenza.)
Counter- f
point.
R
1
JB.
\>
\,7
Canto
fermo.
_fi2
_^
W=
Filling
up.
m~
3
5
Foundationpart.
^t:
a:
Canto
fermo.
3Q
Counterpoint.
^^ i^gy^g^^^^
t=t
835
/
4%
Filling-
^- 2
up.
g-
Foundationpart.
P4=^=^=
Z2EI
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, quires

it.
where necessity
le-
Canto
fermo.
\.w
zsz
131
Counterpoint.'
m t^4iU^fc^ E8P ^PBfe

366 858 43
5
Fflling-
up.
3C
FoUndationpart.
---^
Iieeee-eSe^
6
5
&
3 9
5
?cCT=g^=g=t
4
-ESh
''IT'
3
ZJEZ
Counter- f
point.
125
î^g^ ^^^îÊ^ -366

S
85
4-3
&
Canto
fermo.
FifF^
a:
Filling-
up.
3tE
ST.
Foundationpart.
&E5
:ar
126
SECTION
II.
3E
s>-
m
8
mm
13
>.
-(2-
Q-rrriznrM
765G
ISC
76
IB
ISC
Filling-
up.*
Ê^
2
3
mm
3
"0
Canto
fermo.
fsSE^
<
4
S
Filling-
up.
-&2
3
Counterpoint.
^^^^^j^êe^
1
Jt"
3-8
SiE
fl-
^s
of sacred music in
it
fiEjEÊ^grfc
is
fefc
(Frohberger, an antient composer,
said to have written short pieces

in the parts, not
which no Fourth occurred
e\en
that
one
(as taken from above)
in the perfect chord;
127
his
which
is
the second tone
object being to represent in this the holy Trinity.
way, by means
of the purest Tricinium,

is
This singular
mode
of writing
called
harmonia sine
quarta consonante.
day.)
Counterpoint.
Albrechtsberger related this anecdote to
me
the other
&-^-
m
D
=p
iO
1
4=
6
^=S
=E
1
Canto fermo.
Ê=i
Filling-
up.
Foundationpart.
128
SECTION
II.
129
Filling-
m
fe-f: ^
up.
^m
J=3=+3
Canto
fermo.
%&-
Counterpoint.
ftra
^g^^ÊÊ^ ÊS
Z3E1
I
<
I
&
4
4-5313
-r* 0-
3.
*0-
-p-0-
Jtt
E@^ t=!=
,
-# p-
must proceed
in
As we have-now finished our synopsis of the five different species, we to combine them, viz: to keep the plain chant, and to write one part two minims to the bar, in another 4 crotchets and in another
;
bound notes
manner,
by
this
means the composition
will
be varied
in a
remarkable
e. g.
ife
t=t
X-
&
3=
^F$\ *
b&z
*
tt
j=jj
^^w^Bi^^fea
Conitw firmus.
13
Beethoven, Studies.
130
SECTION
II.
FIFTEENTH CHAPTER.
Fourth species of four- part,
In this style Discords
to rule
,
strict,
simple Counterpoint.
may be used
but the resolution of which need not be immediate
which must be resolved according because one

,
dissonant interval
may be
retarded, or held back,
well as the minor Seventh
may be
struck freely
by another. The real as upon the fourth major tone,

The chro-
and the diminished 7th upon the fourth and seventh major tone.
matic or semitone method of progression is also permissible.
IN
TWO
,
PARTS.
FIRST SPECIES.
*"
-
Counterpoint.
m
1E
fall
,
~>
&
m
I2Z NB.
ti
<
Canto fermo.
ZBL
2E
The
to sing
is
of the diminished Seventh,
atNB., viz: from i

,
to gjj,/ is easy
and good
because the
latter
note
as leading tone to the Dominant,
correctly resolved
by ascending
to
above.
Canto fermo.
Counterpoint.
151
M-
m fEEg=
=t
&t
=M35=
6 3 6 8
SbIE
Canto
fermo.
PEfc
.nb.
Counterpoint
gpiE
=g^^jg^gEp^g
1*2.:
a
8 6 5
!3i
irf ^=^=^
The
fall
=t
4=t
-<s>
=t 1= =3 3:
:
of the diminished Fifth (at NB.) viz

it is
from
f to
bh
is
also per-
mitted, because
melodious and
is
properly resolved by the next note C.
THffiD SPECIES.
Counterpoint.
iNr^^g^fefe
b
s^pq ^
3678
^2
,
tf
[?
3455
7^5
Canto
fermo.
Wfc
^^^m^m^^
j?
EJ'J
jf
fc{5
tj
3678
|?436
3=
[7~~
Canto
fermo.
/
|
/2
iffn-fr-fp
67
Counterpoint.
3435 353
l^^^^3^^S^^^
^
3
:|
Li
fcj
132
SECTION
II.
!|t
fcj4
3*32
3287
5-35
jgga
fEfi^ÊEjEEj
FOURTH SPECIES.
35
323=H
Counterpoint.
SEE":
6
FEteE^^Hî
3
tj
is
It
16
Canto
fermo.
35^
<s>
lE^l=3E==^3E^^=Ê=3=l P=^ *=t SB 35 35 76

-e?
*
Jf
w
Canto
fermo.
$&
105
32=
43
'
104
45
i
Counterpoint.
3*3Ê
- r>
<
__J-_
<
g*- g- --si
SE
6
12
-(S&-
fS Ê
Counterpoint.
-W-
l=3=t
FIFTH SPECIES.
3& 05431 iglS

0$=
345
a ^H 7365
-*-*
S=P=:p:
4=t
345
fi
8fcf7
Canto
fermo.
153
^smwm&^M
5434
78987 34b
-,
5b
^- ^
1S4
SECTION
II.
SECOND SPECIES.
Filling-
up.
Counter-; * point.
SEE
10
6 8
e
109
3
5
h=
3=t
109
e>-
S
3
5
Canto
fermo.
n
-a
1
pj?
15S
FOURTH
Filling-
SPECIES.
ISC
up.
Canto
fermo.
<
H *
I
85
43
65
56
23
SS
37
4=
34
^
S
5
43
Counterpoint.
Pafes
^g^gd^g
3
8
I
43 86
-jSC.
53
23
PE
P^lP^g^l^
FIFTH SPECIES.
Canto
fermo.
a
I
Filling-
up.
is:
rsz.
5676
Counter-^ point.
10
3^5434
^^^&^^^^^^ &fe^
is:
3C
J 4
5
**
3434
8765
--S-l (
7
57
feN^^p
35^
136
-IN
SECTION
II.
FOUR PARTS.
FIRST SPECIES.
Canto
fermo.
tj;l,fr
".
Filling
up.
Counterpoint.
THIRD SPECIES.
Filling-
137
up.
.32=
Canto
fermo.
mm
^^^pJ^^|fetfjEjEE^p
Counterpoint.
Foundationpart.
m
8,
323-1
8.36
1532
3453 543
^
m
{it t=t: -*-*-*^=H5
1
-t=i-
--#-#-
*=F
3
gi
fc(2
t?P=iq=
5*2
**
6
EÊ
7.
PJ^=
FOURTH SPECIES.
Canto
fermo.
!3$E
Counterpoint.
^-zfe
^SE
43
3ZI
3g=g=
=tt
7 8
^
S3
r-O-
38
53
Filling-
up.
HJE
fefe
fe
fcsE
Foundar
tionpart.
~g1
158
SECTION
II.
Il>=
-^~&7
m
G 5
:
7 3
IE
is ^^
FIFTH SPECIES.
Filling-
up.
IP*
aEft^t
58
5
Counterpoint.
#--#-
=P=fn*
4
5
^-FF*
te
%
6
^
81 0*9
8 7
5
35432
4-35
Canto
fermo.
feE
zsz
Foundationpart.
Si
:ar
fts>-
ZZT.
fe^|j
109B
6
^^^^
5
f.
]S
I2C
--
3C
^=*=
mz
-H-

159
MIXED OR COMPOSITE SPECIES

2d Species.
/
^^^^&^==^f=^^^
8 5 9
4th Species.
W$=?=ez
a
6
(2
&6-
'&&-
\=t
8 3
9
?m
#7
3d Species.
Wz
j^^î^t
3
10
=t=t
16
14
165 3585
585
Canto
fermo.
SpS
t=t
6
5
~kjgjg-
58
53
3857
E^
5 3
S
6
30?=
910
3167
t=^=t=:=t
g-^T-jg
rg
T~^
-^
&'
-\
-Wr
78
35
8
5
63
g--eg3
[J3
g=tgJgte^S
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

It is
less strict than those applied to the real fugue or canon.
indeed only
necessary
to take a
it
theme, or subject, in one or perhaps two of the parts,

,
and
to imitate
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 carefully
considered
it
is -also
permissible to combine with the leading subject:

is
other analogous ideas.
For these reasons Imitation

,.
an
artifice
its
very avai-,
lable in the_ florid style of composition
on account of
efficient aid in
carrying out a subject in a workmanlike manner, and giving an air of unity

to the
whole piece by means

bear
to the other.
if
of the similarity
is
which one leading idea
is
made
Fugue
to
,
Imitation
a sort of graceful counterfeit of the

substitute for
it.
and,
cleverly used ,
makes no bad
*)
A
tervals
,
partial or periodic Imitation
may be used upon any
selection oi in-
as will
be seen by the following examples.

FIRST, IN UNISON.
*=
1
st subject.
free.
it
st subject.
3
fr
fczf
a^g^^te v
free.
(to
2d subject
3*
SWI
it.
*)
need scarcely say
the musician acquainted with Beethoven's works) that
B.
to
was
evidently
much
all
fonder of Imitation than of the Fugue, which latter he 'seems

events he never excelled in
it,
have disliked: at
and but seldom attempted

P.
T
ESSAY ON THE FUGUE.
141
it
**
2d subject,
free.
t ES
*z 5?
free.
S
1
fc=
es
St
g
free.
SECONDLY, IN THE SECOND.

st subject.
free.
2d subject
1
3=^z
1st subject.
free.
-!*
i
f ^
subject.
ffiftSÊ^^^flr^g
3d
free.
13
*d>-
subject.'""!
te m^f=r^^m
=t=t
t=
PCH f--i fe 55
(in
the Unison.)
B sp^ pg g ^f^* m
THIRDLY, IN THE THIRD.
1st subject,
free.
3d subject,
free.
2d
subject, free.
PI2^
=plsfc ^^t^=^=b^f=l
feE^&Sgg
free.
m&g$mmmm%^ m m^m
1st subject, free.
2d subject,
FOURTHLY, IN THE FOURTH.

1st subject.
2d
subject.
SM=
v
1
Sifeg
st subject.
free.
2d subject.
-0*p-
mg
55ifc=
Ete^gg^
142
free.
THIRD SECTION.
^^^
free.
1
-*-+
eQê
FIFTHLY, IN THE FIFTH,
m ^
free.
st subject
.
2d subject.
s*Î^H^^^B^g^
1st subject.
free.
li
free.
fete
:
^=pcff
2d
subject.
^pfe=^
free.
m ^fjî
1st subject.
free.
=iS-
SIXTHLY, IN THE SIXTH.
35 3!
f*--^
I
1
Sffi
f^M-M^f
1st subject.
^S
#--
m
2d
subject.
free.
tf
55 *-#
pht^ms^M
(I
free.
5g*
free.
2d
subject.
^&M=*^m rm=t=r=?
ESSAY ON THE FUGUE.
143
SEVENTHLY, IN THE SEVENTH.

1
st subject.
free.
I gj-j
2d
^ _E
?E^
1st subject.
g=
S^
tetHF^subject.
ffl^
free.
ffep* (=t=t
free.
]SgpS
im
^
3=
feJl 35t
V-+-w-f
SeS
2d
subject.
-(=*5t
-f-A
t=p
g=^-fH^pfeî^
free..
^c g^F#
1st subject.
&
free.
N
^^^^^^ m^t
2d
subject.
1
EIGHTHLY, IN THE OCTAVE.
sji;-
jj
st subject.
^^J S^5
free
2d subject.
^^
E*3 W$=*3^
of invention
3d subject.
free.
W^3d subject.
fe
free.
=f=p
Sil
W
,
*H-
-*
=t
Ê
There are also some other kinds of Imitation
(artifices,
or rather toys
upon which our ancestors

strict
set great value, as if they were pieces
of real Art)! viz: the inversion
and
free, the retrograding, the in-
version backwards, the augmented, the diminished, the interrupted, and
144
the Imitation
THIRD SECTION.
upon the
me,
false
accent of the bar (in Arsi et Thesi).

if I
My
upon
Mentor said
have any
will
to
lately,
,
that
desired
more
particular information
:
these knotty points

I
had better apply

;
to
M. Marpurg
If,
I can't
say that
.great curiosity
can easily imagine what such intricacies are,

find a fitting opportunity.
,
and
make use
,
of
them
if I
in a
composiif
tion of
is
mine
the subject allows of inversion
well and good
not ,
it
just as
good
without that capability
IMITATIONS "A TRE, WITH
A RUNNING ACCOMPANIMENT AS FREE OR INDEPENDENT PART.

. .
No.
1.
m
-'H-\?-f
^^g^
1
Andante. ""
_
-t
!
0s ^=* **
st
subject.
*yS
i#
P-P-P-.
free.
te-^
free.
==t
fc=1:=^^
ffe^g^f
3f:
m
m V-p
i
3iP3 1*
1st subject.
V*
'
i
^st
fe
IH
i
^
free.
^^ i
2d
subject.
i^-E>P
mm
2d subject.
r-=*
fe^ ^
g
i%T-f??=5r & ww^

t=^=%\
^tfatjg^:
at=t
-'
1 FI
ESSAY ON THE FUGUE.
14S
hfr
r=F
free.
S %p==m^
free.
m
SBWSJ^Sj
fcffr
is
1st subject
(/-
=3=
i^
tr
3d subject:
pg
g^gj
4 st
^^ ^ ^^
3d subjects
^p&aisg
*==*
fjfe^ff^fe
subject.
Ê^
:irÔk *S tfi.
jg^^^r
fefe3==bÊg
=ft-
^^^^^^
*=<
.feî t=
"!-
1L
2d
subject.
te
i^^wîii
2d subject.
Of
u
10
l^=^
-^-*-
'
'
'
Beethoven, Studies.
14H
THIRD SECTION.
Ifc=t
i
g^f^^^^^
fe
1st subject.
p^^^m^^?m0 *^ ^
I
P
*=^p*
st subject.
HH
=2===t
-^
ta
PP
*~#
r j Ttf-
Pi
s^^^^ft^^
###^-
t^^
3d
subject.
SBB
i
*ii
2d
subject.
FS ^Md si fea SMtf
g^^teÊEEÊEE^^^-f^j
Wat
pi
#-*-#-3 fe^zgEgEÊEEfc===ElEEgg=E
M-t-
free.
I*
free.
*"
*
-N
i EEE ?
^?=fr
"=3==
subject.
4 st
ESSAY ON THE FUGUE.
147
^^^ÊiE^^^^fefei
$^m*?sg3=g
No.
2.
=H"
3=t
^fc
liliîis^^îLii
Moderato.
^
E=3= iSfe
st
subject.
'
fr?=fc
I
free.
II
[~l
1st subject.
Si
BS^^ W=4
free.
*_l#t=t
*-^-fS3
^^^^pggî^î^
îsi^^pfs ^T3
free.
9SeI
$ fe?
^X*=*=
3
=*=
|Sg^^
= ies
^*-
^s^ ^
oj .-...k;* 2d subject.
Ê
tp-
free.
i^
2d subject.
10*
iapgîiigfega^^^
\
st subject.
"
THIRD SECTION.
fefeEE
^"^
free.
te Iw^m mm g*E
"
free.
-.
3^SS=fe
fSggl
S^ggEgEg=
1st subject.
S j^ E^pp33S^N^p^|
4thsubj.
^^=^M*=jJ^
:
<-#>
ai
pFPFf^
^y
3d subject.
ee fe 55
i^S
1st subject.
,4
th subj.
ipHbii
3d subj.
^3-
+-i
w&
lite ft^-T=g^^#^^
free.
t Jf'
B -^r H^^
gâ^
,
4th subject.
=T
ESSAY ON THE FUGUE.

0-
149
fapp^p
:fc
^s^p^^ ^ mÊ^Êi
**
3d subject
1st subject.
1=1
ife I5^
3d subject subject.
fe^teB^fe-^: SI af
* "
'
free.
* a#-
Pfg^Tt I
1st subject.
II
'm"~~
"iiB
free.
3 fr^^fe
&
& mm.
^Pfree.
.
1st subject
-m*tP,--t
1st subject.
m^z ^
[Si^=j^P^fa^lis=s^
I
fefe
^F*
^^^^feâ^
2d
subject.
free.
fc^=ri gg^-Êji^S^j^g jSg
B
ISO
Dritler Abschnitt.
ffm^^^^^^^f^
ute
m^
^
2d
subject.
33fP
ms^^m
ifS
1
it$i^l
1
st subject.
fg^^^^^j
fSg
sk^-$-1#-
1st subject.
iSP^Sp! *^
!"
*HM
3d subject.
^=a fe!=s
*-
-I
jfegjpfese
free.
3d subject.
ttgÊE^ÊEgE^gffli 3
^free.
4th subject.
#-*-*
dfe
j=?=iN^gEE
free.
p
fefe
Hi ffiÊ *$
|
M=3 r-^gp ^
;*&
4th subject.
^^Ê
free.
^S=3
free.
ffl^^^S
5E
ig$
=m
S* ^$i=pm?
ESSAY ON THE FUGUE.
151
feBgl
{
SSii
=?E
ffes-ig
mp^P
No. 3.
ife#^^^^^^^â
4
Poco
Allegretto.
st subject.
2d subj.
-$-
^^^^^âa^w^=y^^
#*
st subject.
^^^^P^=^
inps%is
:
n7
-#
-
7T
i#figH
^ffF
j
^=5^=^
1
^^^^ e P ^^=^=w f^^^^^m

st subject.'
P-ff-^^^-f-^ t=t==t=!:
fe&E^^fa
1st subject.
gr^fT
##g^^
2d subj.

IS2
THIRD SECTION.
isi gfeSÊEg
^^^^m^^^r^
S3 t=t
!---
jN^NNg^^â^^
^k^mm^m^m^
effe
-alr-
S-f
SHI
subject.
--
# X
'
'
==
4 st
HFgfrEE
6^^ =5*=*
2d
subject.
tF?:
1st subject.
^ fe^j
jLJ
P fflÊ
:-zt
Fit-
s=*
gSS||gp
ESSAY ON THE FUGUE.
155
fjasgafefe
-&+-
^.
-+&
p-
3d subject.
EpNUH^JiSi
i-flj^-
4 Ipai
*-*--?-
_i -i
H
-
I 3^5
h*-fa*-j-*
S^-^r
=ss pp^^=^^3#=g=*^
w^p^p^^gg^j^â
|E=3E
,^r L_j_4JE^feEBE3E^F
1st subject.
Hf 3=*
1
p^g^gf^g
st
subject.
gffi
1
#aa^---H
-4th subject.
st subject.
^nsMi
w^M
1
i&
st subject.
Ijgjg
^g
3=*=# -gfe
e
mm
]
J&g&EEEEZ
154
THIRD SECTION.
ggiS
wm
\
st subject.
î^ s
Sfe
^5q
^
^^j-
=3=
4th subject.
i 3^^
3d subject.
Sth subject.
S3
a^
^âtf^^^^^Bâ
I
S î^gfe^^gi
j=
ffeîl^gEiJdJSg
B* m ^^m
=âfg*
s*
^
tr
^ gpa^ sg g I Jb^^ÊgjigÊEEJ^g
*
Istsubiect.
Sfc
1
ESSAY ON THE FUGUE.
iSS
i
f
=
3d subject.
^=EE
1st subject.
I sg=nM-ff jlg^gpi:pygiagEp
5th subject
g;jhy
^=^f
=t
4th subject.
i s
fefe
fefe, SSgpB
pâaî
i$
*^*i
=i=t
3=
I
3
:fc==r
*EEJEg
^ -F
3=2
i=^=
d^= #*
mm
a
P=3=P=tp3=P=t^
-(
piilil
Pi^
a=^
156
THIRD SECTION.
IMITATION A QUATTRO THROUGH ALL THE PARTS ALTERNATELY.
No. 4.
Quasi Larghetto.
$3$m&^^^j&^
1st subject.
3d subject.
I!=
Wfc
2d
W.
&
1
-4=4^
st subject.
S
subject.
Z2-
-ÊE*EÊE1
2d
subject.
pm^^M
?
ggjggJ7=i=Efe
B#-l-
1st subject.
*
3d subject.
gs
=4==
5=Ef
:
^^
-P
i^ gj^=33 gggaga
e3=
T^-
S^-
i^q-g^Bfts
ESSAY ON THE FUGUE.
1S7
eifeiE^gilfc^ i=PS=&
-ft*
=S
ee
1
4th subject.
=*=
-?-*-
3d subject.
st subject.
Stb subject.
5^^^^
^
I
IE
-i--
S^fef
gig
5th subject.
m
5 th subject.
3=^S
S^SSl HP
*
5th subject.
EjgEEg
5th subject.
m^^-
fc3
=^3^f^S^
3^=
^Êl^^Ê
llE^S
IS
Sp^
^j=
158
THIRD SECTION.
^3=* ^^g&ks=pE$?g&m
subject.
=t
SS
l
f^g^dv,t
1st subject.
HE
is
-**-
E =f=*=^t=
-gf-
j?=
be^
=^f
6th subject.
>>|
I
W1
3eeIe=e=
&r
:Sfc
5th subject.
SE^ ffi=^
I
st subject.
W-*
m
4
=^
st
=::
subject
P3;
l^=S pi^PI
subject.
I so^si^*
flE
4:
7lh subjeet.
3=
3=fc
8th subj.
gfrfeggag
=1=1=
I=F=
ESSAY ON THE FUGUE.

z6
139
&
te
? 3
^1
i^^ P
1
^tm*ifete m
5
i|*
1
7 th subject.
8thsubj.
3EEE
st subject.
li=^
fesae^ ^=^^=
^__
ps^âi
=^j i~a^ ^_t
gyg^
fe
qt=j=
j]
fe==S5=^=
^^
1st subject.
S a ^^ftîa^S
7th subject.
B^fe^Mlf
ggli
7th subject.
i
&iE
^ jfc^
9th 9 th subject.
& ^=j|ÊEBa3^p feglg*

*-
^^^^^m^S^&
t=i=f^
4st subject. 1st subiect.
j.
ggggg^gg^^gg=
1
st subject.
5r
160
THIRD SECTION.
ptegpfe^==i P
H=
9th
fefeei ggjgE H^SB

silhiflfif. subject
Bsgw
^
=?
?5=?
1 âste-a
1st subject.
i^fzzzr w-^r
4
st snfij.
PPEEf^gE
=*=
* s
9th subject.
533
B^
%mm
^
m
lEEÊgÊE
^^
-0
O-
9th subject.

'
ESSAY ON THE FUGUE.
161
-4==k
4
tM*S
st subject.
-4==t
a^rEJÊEjE ?^p31#
m=r=l=
J^Ê
^g^^^^^fe^^^ ^P^^pJî fe
3d subject.
B=J^=^F^j^ÊEE^g
5 IS
*
,#-
i^
1st subject.
~~~.
fe^
-f-*-
3d subject.
"
-*
^7!
,
Beethoven, Studies.
^^mÊ^=^
H
*r~ig
162
THIRD SECTION
p^m
^g
5th
ffi^ ^ ?* 3^g^^
5th subject.
^S
ife^t
g^^^S^
subject^
^ -^ #T1
*:n
1st subject.
Tj
1st subject
3?
^fc
SS
=i=fc
P^feg='^
^
:
* * 1st subject.
feg^
=l-i-fJ4
W
subject
st
HE
j=^=p==3
P
3d subject.
i
3=
s^=^
*=1=F 3t
V=t
JI
3*8
^. ^T-r
*g
w#-
ite
1S5*=
E^S
ESSAY ON THE FUGUE.
163
)eeteeE
=e&
fcE
$<*- ,fe-
^&
i|^2
zp==^
kg^g^^^^Bj^
S
=*=
=*
==*=
^êSpSlpSfelÎ
4
st subject.
i
te
=pp=afepÊ=J
^4ÊEgj t^?= r
1
st subject.
Se
M
l,
S=SeS3
1
st subject.
^-*^'^s#s*'
SHEE3E5iS
^^SggEÎ
9th subject.
pi
IE
""
1=1=
^T;
A cf 1st
cnhinpf subject.
=C=
=1=1=

164
THIRD SECTION.
^*^^^33m^$=t=L
9thsubject.
te ^~tr^j ^ ^=^y^#
ElÊ
B* &
1st subject.
g=t =ti=^ Eg
^=^^^^^^^g
SHÎ
fe
3*j
9-=
3^gî
i-i
i
i
i--
K^
^
0-0
H^^l
p-p
f-i-jg
m
p
t==
^^p
^-s
PS
^
yg^=a^^=i|^==j^^^
*-pf-pff-
ii^^s^
fe
**-
3=
3=3
=T-
ESSAY ON TH1 FUGUE.
163
:
==
=gg=e
ieIêeIe
ete*
Êfeg
ztzrt
fer
^Sffi
SECOND CHAPTER.
Of
The Fugue
(called
is
M4
the two-part Fugue.
a stricter species of Imitation.
When
the
first
part
Dux
6r leader) has expressed a musical thought, the second part

it
(called
Comes, or companion ) generally imitates or repeats
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
is
regarded as a second theme or subject, and the composition

a double Fugue.
'If,
strictly
then entitled
on the contrary,
adhered
to
,
this
accompanying phrase be altered, and not
but only forms an independent part consisting of inter-
vals in
the piece is termed a simple Fugue. harmony with the Comes; upon the Tonica (the key-note) and ends When the theme commences
(the 5th above) the answer, or
as to
upon the Dominant

Tonica
companion
to it,
must
be reversed in such a manner

;
make
it
proceed from the 8th to the
e. g.
Theme.
93 38=
If
mi
is to
Answer.
iz
to the
S
Comes,
i.
the theme begins

regulation
upon the Dominant and concludes upon the Tonica,

be observed with regard
to the Sth.
e.
it
the
same
is
to
be conducted from the key-note
166
Theme.
THIRD SECTION.
Answer.
Sfe r^
If
the
first
and
last
note of the
Dux be
either the Fifth
Theme.
Theme.
2rf

Answer.
^ IE
made
in the
,
or the key-note,
^
eqrftfc
this point, viz: that
it
a similar change- is
answer
viz
Answer.
^g e=
(in the
it
is
Fourth below, which, of course,
in unison with the Fifth above.)
In order not to infringe the old rule bearing
upon
the^Tonica shall pass into the Fifth and the 5th into the Tonica,
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
Theme.
e. g.
Answer.
gEg
or
,
zgglÊiEpS^Êg^ zr=a:
,
vice versa
a Third is
changed into a Second

Answer.
+
e. g.
^S^^J^P^^êSê^
Two
identical notes
Theme.
may
also
be substituted
for the
above intervals
e. g.
^^^m^$3^m=t^m
Theme
Answer.
or a Third
may be made
a Fourth
j-
e. g.
Theme.
1=
^^
Answer.
=T-
m IZC
to
?c
8iEte
P.
*)
This shews the absurdity, or,
say the least, the imperfection of the rule.
ESSAY ON THE FUGUE.

and vice versa
Theme.
;
167
e. g.
âEgEj^â^^^feseEE^p
Likewise a Fourth
Answer. +
may be changed
into a Fifth
e. g.
Theme. +
Answer. +
Ê^3$^f=%=f^
;
.
Or a
Fifth into a Sixth
e. g.
i *^Q :
Or a Sixth
Theme
into a Seventh
;
Theme. +
Answer. +
ifeMfefe Sf
-
e. g.
h^^-^^nrp^tru^
Answer.
e. g.
And
vice versa;
Theme.
Answer.
i^^îfe i^g ^_g^#

gg
A
into
Or a Seventh
Theme.
an Octave
e. g.
Answer.
i
and vice versa:
%m
Theme
Answer. +
*ta
^5^S
=a=F^:
gs^Ffe?
i68
THIRD SECTION.
The motivo or subject of a Fugue may, however, begin neither upon nor the Dominant, but upon another interval lying between
in this case the
the Tonica
both
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
Theme
in BJ? major
commences with a Second
as follows:
h-^^sEgg^p ^pi^
the
gjE
^
the
answer must
e. g.
in like
manner commence with the Second of
Domi-
nant,
In a
etc.
two part Fugue (Fuga a due
voci)
when both
parts have discussed
the theme, the
composer has
fifth
to
write a few independent bars in the con-
trapuntal style of the
species;
they must, however, bear affinity to
the leading ideas and conclude with a cadence
upon the Dominant.

,
Now
comes the
takes
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)

:
Comes having just preceded it thus the two parts are contracted, or drawn nearer together. After this another cadence is made, generally upon the Third above, called the Mediante (e. g.
up the motivo again
,
the
the note
in the triad of C, major)
Here a pause
may be made,
like
it
:
if
we
choose.
Lastly
comes the second and
final
contraction of the leading idea
then again some half dozen independent bars

of patch
;
it
if
we
forming a sort
then wind up with a ligatura upon the Second and a Seventh in
the bass, and behold

part
I
the argument
is
finished! plaudite
amid! (For
my
can't fancy such a two-legged skeleton;
seems
to
me
a poor, meagre,
unsatisfactory affair*).
The great thing

a fugue
,
to
it
be considered, when
we
are inventing a subject for
is
whether
shew
capabilities for contraction, augmentation, dimi;
nution, division (into fractional parts) inversion, etc.

tal artifices applicable to
of
all
which ornamenin the next
the fugu'e
I shall
speak more at length
chapter.
(So
now we must proceed

but
it
to
crack the hard nut
it is
a tiresome
pas
de deux
*)
must be danced.)
,
This depends a good deal upon the quality of the composition

,
which
'
if it
be masterly
may render even
Iwo-part Fugue interesting.
P.
ESSAY ON THE FUGUE.
16!)
FUGUE
No.
1.
El*
BK
S^^SÊgEgg
Dux.
&~-
-mr
<&
Comes.
MM ^&m
k
?=t
-C52--
priE^seêteffefg^^^
Cadnce on the Dominant.
License.
Pfc=S*
T--^r &
.*
First contraction.
jgE^r
wSi_
^q^?-
^^^^S^g^^^^B^
pk
V=*
1ST-
=s:
the Mediante.
Pjfefe
s
5
^
^
the
Cadence on
iS^S
Second contraction.
-Jg=.
Close (free).
s=g
At the
this is
first
S^^
is
it is
-<j-
cadence the tenor-part
brought back to the hey-note;

called a bag-wig*).
not good and has a vulgar effect;

is,
The
motivo
to
in the above example, restricted to

license stands,
oj:
two bars, and subsequently
one -.Bene/ Where the word

it
Dux begins a tone higher
than
ought, viz: upon Ef? instead
the note D, with which the answer

the restrictio) ought properly
(seeing that the

to begin.
Comes has already commenced
TJjis is
allowable in the middle of a fugue-
wondrous generosity!
*)
A German
phrase, not very intelligible or of any importance to us.
170
THIRD SECTION.
FUGUE
No.
2.
IN C.
NB.
Comes.
(3d pro 3d.)
g^S
Dux.
lÊJÊi^g
^^^^pi^^g^^^p^^^^
SEE
^H^^M^^g &i steBS m? ^l^=S

(bag -wig.
any port
5=r=tE?-3--g-
in a storm.)
^fzgjS^^s
--si-j-s>-
Cadence on the Dominant.
^fe^P
First contraction.
^J^-^fSsg^%rfff^^â
^^gjr=?rfâ^fe?fe
IE^F=f
(Plagalcadenoe on the Mediante.)
3=
is
*
^^^ S
-"F^
Second contraction.
gsg^g
--
j^rl r 1
r-R^^g
r=p=N^pf=^3=s^^^
m^mesm?^
ESSAY ON THE FUGUE.

The
last restrictio falls
171
el Arsi.
upon
the half-bar, in Thesi
The
plagal
cadence requires, according

not raised by a sharp
:
to antient
it
custom, that the semikmium modi be
viz
must be
and not
Djf
over the bass-note F.
FUGUE
IN G.
m
1
No. 3. Dux.
rt
.
=t
f-0- zsc:
gf5giE>p|Ê
Comes.
3te==
-^==3-^
=
^, ^'^-^^^*-^>^'*-*
^^gg^^gîg
IS
--=
I*
_(SJ_
Cadence on the Dominant. fb
?=S=^ EtÊB
fefe^=i =
i^^=
^^^^m
First contraction.
-*-!-
Sj^gJ^^ ip3^^^5^g=^^^^^g
2C
Cadence on the Median te.
SaJEEgSfeJE^^^rSf^^glg
[*
I
^ggggÊagg
Second contraction.
-"-
It
#gf^B
172
THIRD SECTION.
ij ~
--?==
-f0-
m*
As
previously
-0O--
teE
3SC
will
have been seen by the foregoing examples
it
is
usual to vary
the entrances of the parts
when
the restriction occurs

is
e. g.
the part which the
commenced with
them
resting
the Tonica
made
to
commence with
the second
,
Do-
minant
the
and vice versa.

of
In minor keys the cadences are generally altered,
first
upon the
lesser Third above

1st
I
upon the
Fifth;
1st
for instance, in
C minor,
(that
is,
upon
Ej?, 21y upon. G.

if
in
minor,
upon
C, 2Iy
;
upon E.
say again,
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
The theme (Dux,
three -part fugue;
The principal ingredients whereof are

1)
leader, or subject).
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.
2) 4)
The harmonic accompaniment, introduced during the
repetition of
,
the subject
all
by another
it is
part
if
this
be carried out , unchanged
throughout
is
the parts,
to
be considered as a counter-subject, and the piece
then a double fugue.

6)
The intermediate harmony
which serves
to
fill
up the periods be-
tween the re-entrances

on, partly while
of the theme, partly while the fugue-motivo is going
it is silent.
The
less indispensable ingredients

all to b'ear
(inasmuch as
it is
rarely possible to
bring them
i)
upon one fugue ) are the following

e. g.
The augmentation, (augmentatio)

is
when
the subject
which was
at first written in crotchets

2)
lengthened into minims.
The,diminution
(diminutio) e. g.
via:
when
the notation of the subject
is
altered in the contrary

into quavers,
etc.
way,
minims changed
into crotchets, crotchets
ESSAY ON THE FUGUE.

3)
175
The
is
cirrtaitaent (abbreviatio) e. g.
when
only a portion of the fugue-
mQtivo
4)
repeated in other keys , higher or lower.

e. g.
The subdivision (syncope)
when
the re-entranoe of the theme
occurs half a bar or a whole bar later than at the

fugue; and
is
commencement
of the
If
carried
on by means of the
ligatura or
bind (per ligaturam).
these devices can be
made
available
to,
in
such a manner
the greater
that the character of

is
the principal idea
is
adhered
so
much
the merit of the
composer.
5)
The inversion
inversio)' of
which
a
will
be more
fully treated further
on
it is
the art of turning
downwards
musical phrase , or figure , which
originally ascended; or vice versa.

6)
The Organ-point
e. g.
when
it,
,
the bass
is
sustained tasto solo
and
the other paTts
move on above
tre)
imitating each other.
(This
is
properly
an
artifice
and a very useful one
belonging to the four-part fugue.)
Here (in the fuga a

denza per I'inganno)
the cadences in the middle are omitted, with

last restrictio
,
exception of the one befpre the

is
where a deceptive
close (ca-
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

e. g.
when
half of the motivo has
been played
1lT
174
THIRD SECTION.
Phrases such as these allow of being restricted to a single, bar, and
moreover may be carried an octave higher,

Syncopen;
e. g.
in Arsi et Thesi,
and also per
3=*
m
f
i
rr-i
i
-U = zt. fc-
m p=r=f ^ 3ee=E
!j-
-=A=^:
^j_J
4:
this
S S^g S
contraction
i jtU4 j rfl^
may
frequently be
etc.
kind of
artificial
made use
of,
and
in
various situations.
The most common and

are
effective entrances of the subject are those

;
which
made by
the several parts following in their natural order

Alto,
e. g.
Soprano,
Alto,
Bass,
Tenor,
Alto,
Tenor,
Bass,'
it
Tenor,
Alto,
is
Tenor,
Soprano,
given-, in
being always understood that the Answer
regular alternation,
to the Tonic
and Dominant
e. g.
3RE
j^ftfs^Hfp
E^pEEp^
The. harmonic
u
at
accompaniment begins
the same
moment with
the
entrance of the Comes ; the intermediate harmony begins where the harmonic accompt. ceases.
.
An
tive keys
antiquated rule makes

,
it
unlawful to go heyond the six nearest rela;
in a strictly-conducted fugue
but
one need not scruple

can walk well, he
without danger!
to infringe this rule
if
am decidedly of opinion that man have sharp eys and

,
may
venture to go a
little
beyond the prescribed
limits,
Whenever
a.repetition can
it is
be effected before the other part has quite

as- a
finished the phrase,
to
be regarded
beauty in counterpoint.
173
ESSAY ON THE FUGUE.
FUGUE
No.
1.
IN
D MINOR.
3JE=
Companion.
fef.
>'
&0$E=
Leader.
gpSE^g Ete
Leader.
4=
4=t Harmon accomp.

:
-"P
s
in
Inter
all
harmony
the parts.
i*:
Harmon
:
-#-
fe^ *
t=t=
#=
accomp.
3E
t* t
f-
fe=^5
E
t=
Repetition.
.
Repetition.
te^
* Contraction.
Harmon accomp.
:.
^
3C
Inter
:
-&-
NB.^
t=*r=t
Repetition.
fc +*e-
Last contraction.
3ES
:ar
har
Repetition.
_,_.
ÊE^ *
3E
Harmon
:
gziiszrnpz
:-
in all the parts.
Repetition.
te^tfre
accomp.
J*
-4s!
Repetition.
176'
THIRD SECTION.
jqHfcqrfr*
fffffr^ =Sfe a
T^r?1
ESSAY ON THE FUGUE.

NB.
that
it
177
It is
customary
to place a rest before a re-entrance of the subject,

it
may stand out do so*). (Why not?
in bolder relief; in this instance
was impossible
to
Art and ingenuity can surmount
all difficulties.)
EÊt^
Repetition.
m^=fe
-traction.
Repetition.
SSfe. m*=
?-0-
BS
-tition.
*-
-* -
gyr-l | trqsj: -*W 4f-j
f=t
Har: accomp.
^^m^m^m
Inter
:
har
w&
M
T~$V~^~
-0-F-
fc
pBr^^SQ
jSlI
Har: accom.
in all the parts.
178
THIKD SECTION.
=EEf
feg^g^g
Inter: har:
&=&-
m^^^gfc^^^^^^^^^j
in all the parts.
g=g^^j^^^^g^g==
FUGUE
No. 3.
^
Z<5C
IN G.
iP^
Dux.
se
Comes.
jHjar:
a ceo tn.
j^^l^j^gggj^fgpifgggg
fc=
*= |Eîf#E^
III^
Ê
y-r-^Repetition.
*teE* 1
fe'^m^
Pi
Dux.
Har: accom.
ffrFf e
-j&i
S^PS
Contraction.
Remark:
the repetitions follow, in this case,
so closely
upon one
another as to leave no room for intermediate harmony.
m
P
i:
Repetition.
Uzî?G &l^JZ
Har: ace.
Inter
:
har
-*--^-
flhe rf-ta 4-g
Ld
tr~~"
tea*i
^
Repetition.
throughout.
IeeSS
ESSAY ON THE FUGUE.
179
-G>-
gfep^BgEfe3^&i
=ii
Last contraction.
m
a
<g.
Ê^F^^T^
Jfe*
it
-&*-
Repet.
PP
i i i I
R -T-
S^
f-F-H-
--!-
1=E
Repetition.
P *=ffH^gfJ^^
Repetition.
e-
m^m
ZE
FUGA A DUE
No. 4.
Allegro.
VJOLINI E VIOLONCELLO.
fiij^^g|g^Bi|e |j
fc:
1^=^!
Bs
^S: i^^^g^m^^
^fefe
iapEJ^g^B=j
;g
jg^
180
THIRD SECTION.
f^m^^m
:-.-.r
-V
mm^m
fe^^44^=3E^^^=i%
im^nn^
i a^^ggp
fet
3=d==^= p*
g^
ss
35
^-^-iF?
EftfES
Ife
k?^m&mmi ss 3=g Be Pfe3lEi==3

W=&
-#
i-1 -?-
#-
:Ê^
^|^^-Hf=B^feE^feff:-j^^
ÊEt
=i^=fl
-*
ff^î=ÊE^
~ ?-
apBEESg
tejg^=
^^^^^p
^&Pj^r
ESSAY ON THE FUGUE.
181
PiaglS#gS^=EE^
-$5+*-*-*
pSf
P#
^mmmmmm^^^m ^^==^^?^m * teââi^^^^^^^

I
te=a
ig^g s *
:
'".
'!
^fe ^?â|gffE=a g^^^

-
^^
flfc
=1=5 ggb^^ S=f=
^^^^g^-fe^j
EpS
g=?
Ê=t 3^S
&
^^fefe^JÊ^ **=
182
THIRD SECTION.
$m3f$^
!
^m&m ^m
f
-
j^^g^jg^g^g^^^ ggg^*-fC<^?-<--
& r^ff?H^^Bi
fcpfete
fe
fa^=fi=
life
*~1
g^g#E gp= Êg44jjLg

s
^S^=
fc*
&*.
-vagvisajcE
j
ms?;|
'
.?
I
dsfe
^ &=
j^^âtJ^^^ ^S
g
g.
^:
-*
e h_b fct
^= gfa^^ 5=*
ESSAY ON THE FUGUE.
185
d
=f ^s EfaESiSSffi* ^ ggg^^^^Pigg in
I I
*=S**e WP tg^fi
fe
^^j^gjfeigB
^j*^#*
^sy=^^jj=p5SB^ss|Eg
s
3s:
H g|Eljg=fe C=
^m^rlfE^=
*3*
i=f^=Si^^SiEfeEEfe
hssfsm i&BÊE=EiS^
i^yi^^^îa^
184
THIRD SECTION.
^^^m^^^m^^^m
fe^3
eS
&E&&3& gS
êe^+eEee$^^j=.
Êafe^^^^Êâ^^
M E?
Hi
^M
m=
^=
^fefceS
&. iii|i *-#" *^-j=t

-
s*~
-,
teNr3* t=t
#*
^gfcStgte^gJE
^P
Bg^^j^^g^B
ESSAY ON THE FUGUE.
185
feJigl
ijrm
IeS 5P
fe
ife gg3
^^^P^H
Of the
Sopraho,
Alto,
pn ^
H&-
FOURTH CHAPTER.
four-part Fugue.
Here the several responsive parts
Bass,
may
enter in the following order

Alto,
Tenor,
Bass,
Tenor,
Alto,
Soprano,
Bass,
Tenor,
Bass,
Soprano,
Alto,
Soprano,
Tenor,
meanwhile the
relation
between Leader and Companion, and likewise between
Tonic and Dominant, remains as aforesaid; and vice versa, viz:
i:
Dux.
Comes.
ZSL
22:
!3Z
Dua>.
Gomes.
Dom.
Ton.
Dom.
Ton.
In working out the fugue the following regulations are generally observed
1)
When
is
the motivo has been taken
up by
all
the parts, the
web
of
the piece
spun out by means of the intermediate and accompanying hara cadence is thefn
monic periods, and

key-note or
2)
its Fifth.
made
(at
pleasure) either
upon
the
Without pausing
taken
at this close, the
Dux
or
Comes may then

subject
re-enter,
care
being
to^choose a part in which the
has not lately

likes,
appeared: the other parts follow in whatever order the composer

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
is
annexed a concluding passage, ending in a
ristretto,
i.
e.
the subject
repeated in various tonal regions, one entrance being more
quickly succeeded
by another than
at the beginning.
The half-cadence which

If
occurs here
may
also be lengthened by a/ermata.'
the original
theme be
capable of augmentation, inversion, diminution, curtailment

so
and
dissection
much
the better4
<
When
the subject has
been conducted
in this artistic
186
manner through various
introduce
4)
THIRD SECTION.
keys,
first
kindred, then extraneous

*-
it is
lime to
the final contraction, and this,

fairly said
,, finis
if
possible, over a stately organ-point,
that
it
may be
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.
e.
Comes,
Inter:
c.
Dux,
d.
Comes; together with their .accompanying harmonies,

f.
Intermediate harmony,
k.
Comes,
g.
1.
Dux.
h.
Comes,
i.
Dux. Dux.
Contraction,
o.
harmony and
Imitations.
Dux. m. Comes,
n.
r.
Comes,
s.
p.
Inter:
harmony,
q. Final contraction or concentation.
Organ-point,
Ex-
tended cadence.
A happy
of fugues
;
selection of themes tends greatly
"to
the successful composition
the following
motwi have been sanctioned and approved by
my
preceptor
FDGARUM THEMATA AD SEMIRESTRICTIONEM ET RESTRICTIONEM APTA

No.
1.
No. g.
]
No.
3.
teg
No.
?s=: (E
t=t
4.
~te
=
E&
No. 5.
&J=fg?
WF-
*
--B
6.
s
W
f=.
Plagal, or Phrygian.
Eg
No. 7.
etc.
No.
^t
-.
r-~-r
S
&
No. 8.
No. 9.
W=&
9=
No. iO.
ZB=
m
tr
te^
g^liÊÊE
No.
&&
~*o
U.
Answer.
ggq^f[3aj^qgBtE[spte^
Authentic,
&*
ESSAY ON THE FUGUE.
187
tefe^^^g^Sz-q^zggiq^
or plagal.
No. 12.
No. 13.
gj^Bpa^ffea
No. 14
*3

188
THIRD SECTION.
FUGUE
No.
1.
IN
A -MINOR.
^?^^gf#^^^^^^
^sfete 1
5Ê
3fE
&E
F T=5Z Eê
-(S-H2-
a^
SOL
t= t
-&
(S-L.
ja
HE
(SL.
^fcdfea
ficST^
eS^^
rîzq-P
3*=
\^^m
?-\
h- ta*r P*
f-T-<S>-
feiEE^
lt
pEE^^gEÊEEfrH
<
!
"^f P%g
S I ?=
3=3=
ZT-&.
?=
i^=
3C
Ilillili

ESSAY ON THE FUGUE.
=pt
:iE
189
3^
-g-
13
p^fe^^gg^
fo^=^g
r
fl
m
ifc/j
w~r
r-
i-r
tEE3fe==&m$&*$tf
F3^g=SBÊgSgfc^=g
IE *=3=
-<a-
^^^ffef^^^^
S
=B^="
-#-#-
3
3=fcf:
=iE=^^g
-^ =~
S
r
lE^P ^fc
33^-Jg-N
g
ze:
-r
n^
--?-
jj gjsp fe
iiiifisis
190
THIRD SECTION.
&
ES
-gt
z&z
fc =e=pi
:t=t
+-P-
=t=t
-i*rt==t
e^
fe3^^3gâfejfeEE=^ p
p
ijfcfc
3C
^^s
3=t
^^s>-
:fe^
gl
^ p^ff
E3^
#-#-
{L-+ O-0-f' r-g

i
tt
-igS
-(-
3t
g^f^ff^^yfpg
ri
-f=^f*
e>e>-
Hhr"*t=J=Fff
&#--^
g
i
S
qz=3
m^&^m
m-
*E==rE&%E==m=$g*&
Spzrj:
ESSAY ON THE FUGUE

(?
a.
191
S=E
t=t
^l
&e=eêe
î^fe
.
EEÊES
y fe
^
S^fe
:t=P=
Si^gEQ
PE
-iff*-
S^^
U
FUGUE
IN C.
m
Wo. 2.
pÛ==iH^^î^^^^
fcÊ^
3E=E=
3e?e
^B^T^^^lEfeg^^g^JEg^
192
THIRD SECTION.
-sta
&*=
g^Hg^g^gfe^^
E^^f:
-&--
g?
3=3
t*
2ZT.
s^^^^m
f-*1
i i
T r rr ?=& mSU
~fr
g *=*
i
g'
^g
SPfe
,
P^S^g^lfe^SgKi
^
peaigs
p-.
==E=fepite**
zfrtEt
*-<2
&
=tt
is
^ 0-
g^^^^^^

ESSAY ON THE FUGUE.
195
fafe
--!-
=fe
_ a-
-<-
f-^ T-l-^fa:
t==* -f-rf-f-T^F *EEf
fe^f^feg&F=^F^îgg
^Sfefe^g^^^fe#*
*
f==tt
f^-rflg-i ? *=t
gj
^faÊFÊgE^^d^^ dte^
z:
**
|Efe
irte
=H
=E=t
-P
&-
St
--#
Bs=a=3 H=t
52 fi>-
-S2_
E^ÊjE^^^jjE^g
- J
-2-S^
t=t
jEEpE^gg
si--
13
&ZLZ-^Z as.
Beethoven, Studies.
g^^^-r&TPP

THIRD SECTION.
P=*
3=t
|S-
T_|/
.&.
&
*=t
-(S
<s~
9f-
f-rf
^g
^ggî^p
^^
g*
^^^
2C
13S
BSE
BiÊg
"I*-
SiE
3Q=t
FUGUE
No.
3.
IN
BK
f=;
P^
zsz
fflE
Se-
fejEgjg
ia
ESSAY ON THE FUGUE.
195
gg^g
St
ai
4=5:
^^g^^â^^^
S-
K
5
S î^ses
zac
:?eS
feSfeig fiS
SS^Sfc=
SEjE^^tggg
fegste=B ^q =^
g^î^g^feg
*pfefe
-mm^
-êee -
mmm
& ^
$=e&3=?E= w
w.
fetiS
^
13*
i^^|gÊ^ÊE^JEg^^g

196
THIRD SECTION.
^^rfff-^
^3
^=i3C r1
^^ Ê
S^^^^^te
P^g^
eS iî=
^^^\E^^^
fEfe
# g
-
i.
feEgg=^g
g^
iE^
j^^^^^^^^^fpg
s>-
es
-!-
*=x
^
I
m^^^w^m ^b
HgH^ffff^
f^FfÊ^^^^^ê
3E
jg
fg
^S^^
g
^g^fBi^^Ê^g^
ESSAY ON THE FUGUE
197
gSE
=g|^S3=S
1
m^n^m
mEÊ=ggÊftEg^ m $&
^
ns--
gJEfr=
e
.b*_#nfe
_^ ^=r^^=^Ê^^^f^r=f
Mhh* mlE= -^
^F^
<g
^^^^^m^^^^^^^
^
gggî^^^l^^g^
%=m e^
m
pggg
1221
m$^=Em^ &H*
= ES
-0-F-0-
ss ^3
198
THIRD SECTION.
i
fspfe=
3=2=1
W&&W ^ ifi g rog

isr mi
r~r
}=E
^
^ ^
f-
S2
fe-r
^^S^^p=5
^^f==$?=
^^Ê^Ê^
1ST
1ST.
r^^
m
m=^=fff==^=f==f^=f=^
3=* eeK
~g TEZ
VIOLINI,
S
tro ppo,
^
=
FDGA PER DUE

No. 4.
Allegro
ALTO E VIOLONCELLO.
fr
ma non
jfr-îfc.^
r>st
s-
<
ji
^=
ig^=i==l^^^
ESSAY ON THE FDGUE.
199
^JEBBg^gE^ggg^fe^ga
^â^^^lpg^^
I
3>=
i=E
2-#-* -f
m^s
fSW= -B3
-g>-
Es^=sggjg^fîipg
&
sig
?=
I
i
P
es
îi=g=sis
3=
^ HIH
r~ s
tg,
m^
gpj
-*--*-
_ # i.
fc
m^m
^g^faî^î^g
200
THIRD SECTION.
&-
Wt
gEg=gto==fc
^mz^gm
SEJ
fe
B^
^ ^5^ r -^ fe =dE
1
^^^
ia F=
fc
9fi
pfrM?j^^j
z:=Mz
ffi
,
f
-*-*
&
fc
s-
pt
-mP-
i=t
^^^^
S^P
fe^fefee =*=fl^
*=
^=S=pEE^
ESSAY ON THE FUGUE
i
PE
fiitf=t
^
-*P*
201
i=gpîiMp3i
S
fEjE
g^feEJ
ffl^fo
^
I^H^-^-bj
il&SS
iEE*
:**
^^2p^33^5
SpEiiSI
=2
S*
fete
f
S@
fcfrh
i
IE
:==fe
iippîp^lp^p
FÊfeF
afcf ff =f^^
^^^^^^

202
THIRD SECTION.
**-? jiJgg^B^gEe
-^h
I
|3E
^^feM^ f^M^^gE-Jj
tr~~
is
#-# f-#-=^-rrtf^-^- BPC ~ Pt=t=t r-"b
* LJ^J
--*
-P- F+^h^ tt
rf4
*J*
feF*
*=
*:
Hî*
it
iS
^3=
gl^gg
tfaas tb 353
->
S g=^^
^s
t^=, s^gj^
I
=:
=t= *fe :^f S e^SS S^S i^

fe
^^
l*F
Sa=fa==S
f-.-
^pg=feE==
-i=
ESSAY ON THE FUGUE.
203
Bl^SgjEjgaBEji^^^^S
m
I
te:
gÊ^jÊ^^ S^^^fe
ss^f
g^=ffi^g
E&
-ft
P^S?
^gEH_^^gjg
S =g ^=^=j^^^ ES^sag^
4=^
EE3 Jg gjjfE 3E^^

g
gg^^^^^^^^^^
204
THIRD SECTION.
p=1f ^p^ggEEEEt
imîpsiîisi^
a^ &^m
Mir
SEEFEjEa^P^ g^Bl
+^H=
7C=t
H
3
-
6
ifeiLJj
f
=P= e
=
fci33&^
-*-
3=PC r-
3iÎ
^r^n-
TiJM^t *?
fes
PT^=fg t=
^S
^pSP
l^gg e
m>
^^^^^^Pfe *=
r=
J
f'
:
p-H-^jii
=S
=1=^
atE3EHfe
1^
ESSAY ON THE FUGUE.
20S
H5C
^H^=f^
ifl
=-^SS ^^|S^^3SSegg
aE=t
S3 pi
i=E=aa
P%
lillll
3E
sm
ms^ ^
g=5fegÊ=jpj
s w
fee
IP*
3= s^
^^ mm
J3t
upgga^
pâ^f^
Ete
i
]IE
m
SîS
^^^ ^5
Zpztzzqpg|^
=1=
3f ^3=EJ*=JEES
206
THIRD SECTION.
^^^^^pp3^^^^B
^P
!=iE
eS
f= E^ ^g=-^î^^^^^fe^
S^^=i$^l 13^ ii^^î^Ê^: a==E=

fcE3^ ^
E^ *
1"
-*
^
=S
^^=E g= iEÊEg=
f
?=t
feg^p^îg^^^^
^^^^^^fe
ifc^:
^f^^^ga
1
ESSAY ON THE FUGUE.
207
^^m^^M^M^
ii^^^p^g^ ^
ib=ar
zaz
zszz
s=
m=i&*^g=&=E^^^^^
ifef ^^fP^
ffi tit
fe*E^
m
te t=t
=^=^
P=S3p 3==^ i^SSspa

r==E
pfe
ll^HSI
=!==:
^=&
S=
i-j
i
^^^0
=
-
^^^ffizQ:
208
THIRD SECTION.
fg^
te
*^^^gaî=lfe^
SB*S***
3=3=
i^Pip
f=e=
^fcO
3
:g@
9&B
iffl
^pgg
f=FfP
ife
s=t
^ ^
zaag
lis
E=S ffi
#3 S
I *=&
!S*-^ fe^
^^
^^
i
^^ 1
3

'
g=
^^
ST-
^P^ fa
,
-j-
ESSAY ON THE FUGUE.

No. 5.
Moderate*.
209
FUGA A QUATRO
VOCI.
eee
te
~=t
E P=t
pa
=S*e
Do
- na no -bis
i=5 f$
cem
,
Dona no -bis
no-
eQe^3E^^3^
Dona nobis
pa
^
bis
S=e
pa
-
cem
no
cem,
8Efc^p^l^=
no -bis
Do-na
pa
SEE^
pa
qct
cem
,
g^^g
no
bis
pa
^^
dona
a=t=
bis
-p--
it
pa
cem
f*
"^
SE$
-
=4=^=
cem
cem, pa
=
cem,
&E*=ee
do - na no -bis
3-1*
ws
pa
p!=-tsE2&
*=i=1fa
dona no
EfeEHE
bis,
do
na
wm
nobis
Beethoven
,
^=S^hipa
E*
cem
,
pa
^Hâ
gag
Studies.
210
THIRD SECTION.
e$
do-na
no -bis
^P^
pa
-
CSfe c~T er
E5E
no bis
^MB
e
cem,
cem,
pa-
g
pa
= ^^^^te *=p ^^
cem,
do - na nobis pa -cem, pa
pa
g^pgg^
cem,
do
na
i=si
^ Wfe
E
=R=:=W
=
cem,
do
na
|E*EE6^
cem, pa-
cem, pa
^=
^
do
-
a
na no-bis pa
&
no bis
=E
pa
cem,
^Mi^
- bis
do
na no
pa
cem,
f-Uwgnrar<^far4$
s
^^Mfe^^gg^^
cem, do - na no
bis
no
- bis
pa
3^^
do na no
bis
ESSAY ON THE FUGUE.
211
fcfe^
m^^mztmmmmfc-^
pa
m Ê&P^Ff
pa
sc
cem
do
-
m ^^
-M
pa
bis
na no
3=
^
-
bis
cem
pa
pa
cem, pa
cem,
fc
pern,
6S
==*=
do
-JEIZ3.
-
pa
na
Ê^.
fi=fe
pa
E
do - na no - bis
0-FJfr-+
it
cem,
cem,
pa
3E
#--^bis
asp
pa
^^
pa
3=
cem,
p |^=J;5h
no -bis pa
* g-a-H
fegiS ro
cem, pa
cem,
^S
pa-
SEE
gS^^jg Ê^
bis
^ffif
pa
PSeEcem
sseee
do
-
na no-bis
212
THIRD SECTION.
sê
cem,
m
6?Efife^ ift
pa
pa
E#=EgjJJgg
pa
cem,,
-|**-
5
-
^
no - bis
=5*
pa
-
E^feEEl
cem,
pa-
do
na
gg^6
pa
gaâa^g
cem
,
do
HE
^^^^^^=f=S
cem
pa
3S
=t
cem,
no
bis pa-cem, pa-
s
i
E
bis
ws.
pa
--t-
cem
pa
\m^
cem,
do-na no
SE
bis
TO
pa
-t
do
na nobis
pa
<H&*-+
i^Ê
cem, do
-
ig^pBl*
bis
na no
pa
cem, pa - cem,
â^y^sfefgy =
q
V-
do-na nobis
pa
cem, pa
cem,

ESSAY ON THE FUGUE
213
3=
cem
,
VP= fe=S=fg=y=^h=g^^
cera
,
pa
pa
cem
no
bis
pa - cem,
^ggmi^Mmm^m^cem, pa
cem,
do-na
*
do - na nobis
pa
do
-
>-r^pa
F
piii
cem, pa
na no - bis
i=E
no - bis
BgjE^jtez rHI t=3= =fr=

iit
pa
cem, pa
^
r
pa
cem
-h
pa
cem
^TfT-fa^T &SE&
pa
ES
cem
,
^^
=1
, ,
do-na
pa
cem, pa
cem
m
pa
f*
cem, pa
s^ê^^^cfe^" ^^
1
cem, pa
i i i
bis
^S
I3ZZ
Org. pedale.
!!
214
THIRD SECTION.
cem, do - na
^
do- na
3: no
bis
pa
cem
EE
pa-cem, pa
r-trr-
*
cem,
no - bis
pa
cem
=t=t
cem, pa - cem, do-na
no - bis pa
cem
tt
cem, do-na
no - bis pa
cem
greatly
Nota bene
varied
the effect of vocal fugues

of the parts different
may be
enhanced and
others,
;
by giving some
at
words from those of the

to all the parts
If
and only
the conclusion giving the
same words
they
should also be permitted to rest occasionally, to take breath.

ing for stringed instruments this precaution
time
it
one
is writh-
is
unnecessary; at the same
is
preferable to aliow one or another of the parts to be silent

for if they are all continually
now
pro-
and then,
duced
engaged
together.,
an
effect is
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

it,
counterpoint.
This species has something very stately and solemn about
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.
im.-
^zt= SEJE
'
&EteE*
S^
j^g^^^^gl^^^^^
igEg
*=t
-s>
i^S jfe^gpg^^^^B
<=^r rP^^j
I
i-
atzf:
=tt
-f-!-
lî^l
3*
e^*
feS^S
=3z
* ffr^ gig
^^^g^^
Chorale.
^^^^^fir#gTp^
=az
216
*--
THIRD SECTION.
eSe^
^m^
m
-&-
S3
^=fc- j=t -|=L_
te?
Pi
E
free.
^
E
^
nsc
5p=4$*
^
pip
Ep^ggg^gg
*==^=
33^
J
-*-^-#~^-
^ Sê *^
^dMffeJS
Si
S +
:t=t*
sftzgdj gte
==t-t=
=ff^=^
ie:
S^f
(a
W^S
-i"-
?^
ESSAY ON THE FUGUE.
217
--#-
Si^g
Chorale.
sc:
=F tt
S
^^3
fejEE5Eg}EEfe
N^p^^fe^sg-" ^sa^
&S
gigip
JS frpzd^f:
feS^S
i^Z
sfe j^=a^ff#H 3
free.
-fe^fe
-:
.-(S>-
ft
M^-F^f]7*^~g
Chorale.
E=
-s>-
pi&r
P3ff*^
32=
ii
218
THIRD SECTION.
Chorale.
ffl
fe
31
gSpi
*^
dSS
free.
&m
S rp*p a
B^p^
22T
[is
^tF+^mga-
#-* -g
^^^^^^â^^^g
B ^
Efe
i
-|^
free.
^ j
gfr
..
.-T--.-WI
ii^p^^s^^sfe^te
s^ê
9ferfj
ESSAY ON THE FUGUE
21!)
m^ fegEEfe^^^fea
<
;.
g-
?îî fe
t=?c
fe=f=fe
fFr^TEt
3*
:ar
igi
jEE
p^^^g
eSee^
5^?
g^^gEEgg^^F
^fc~îr-^f==&=^
^
E
E?E
t=^=
feEEEEE^^ EE^ggEEÊE|
3r:
&i=
Efefeg
t
-i
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âu_îz
*-#-
U20
THIRD SECTION.
^gÊ^Sfpgg
--*-<-
?==
feg
Chorale.
4=t
SfiE5=
free.
8 3C f^-f =
-
S^^gg
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T-SfS-
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^pH^^Sfe
?!? ^
vg-
plg-l -g-p S^-J-p^g

l
t=
^s^^gia^^
3*1
:sc
-Mq
No. 2.
:SEÊ^gp^^^j|^==S^g
ME=
3EE=
-^ffgfepg
_ 1M
_j
fes
iH
ESSAY ON THE FUGUE.
221
EapgEESSEEBSSE^
I*
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3
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25T
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B^^
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Chorale.
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3=
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^=rte

222
THIRD SECTION.
fcfS ^-rJ Efazgg
^Ê^Êgqi!TTf^lEEE^
^2
F^
*=t
r-ehP-
?Ê3E^&t
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-m-
-*->-
=*** ffi^S
E
Chorale.
T\T ^^^
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:
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S^SS
Chorale
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"
mL.
m=*z
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mÊF^
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'jE^^=^^^^
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mt
ESSAY ON THE FUGUE.
225
pgT^^P^P^
m
i
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Chorale.
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IE
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34-
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224
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THIRD SECTION.
m
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3C
Chorale.
ES
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f-P =tt
/3.
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Chorale,.
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tr
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fe^^te#te
ESSAY ON THE FUGUE.
225
FF=-
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-<S2-
g^zggz^^gj
Chorale.
gEjjpa=flftp^g
jST
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te J=t*
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liE?:=P=:
t=3==t: ==f^f^ÊEEg
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15
Beethoven, Sludics.

226
THIRD SECTION.
W?t
st
&4Zmm
wm
^^
Chorale.
%=m
[f
-
^^fff^-rfH
ZSZL
fS
I
EggNê^^
f=jf^
e@
k
&&
it
-=-
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gr
^T^
kf
31
^^
feE^
^^^z=zjjj^ tt
3:
SllliSi
3C
bFfr
Hfc
iî^mfe
s
-5Ê
ESSAY ON THE FUGUE.
227
SIXTH CHAPTER.
Of double counterpoint
The denomination double counterpoint
in a
in the Octave.
is
used
when each
part appears
part.
two-fold shape, viz
once as the upper and once as the lower

:
Of
this there are three different sorts
in the Octave, in the Tenth,

varieties
and
in the Twelfth;
to
which those
(less
common)
in the Third, Fifth,
and Sixth
It
bear an
intrinsic affinity.
to avoid
will
be found useful, and indeed indispensable,
certain
Concords and Discords

in ordre that
when each part may
the very
first
sketch of the composition is made,

its
allow of being transposed out of
peculiar
position into another interval.*)
Care should also be taken to preserve a variety of movement between

the subjects
,
that they
may be more
easily distinguished
;
from each other.

g.
by using notes of different value e. by this means the characteristic and shorter duration
This can be effected
notes of longer
difference will
be
clearly developed,
and each part distinguished even when they exchange

each particular species must, as usual, not be
places in the score.
The
limits assigned to
overstepped.
When
composing double counterpoint
in the Octave,
or
in case of
the piece being written eight intervals higher

position of the parts ought to engender a
in the Fifteenth
the trans-
new phase
of
harmony.
In conseto
quence of
other
this
the
intervals
stand in the following proportion
each
4 5
5 4
6 3
7
2
8
1
thus the Unison becomes an Octave, the Second a Seventh, the Third a
Sixth, and so on.
That part which
is
raised higher
is
called octavo, acuta;
that
which
is
lowered eight tones
is
called octava gravis; e. g.
Octava acuta.
*)
That
is to
all
say
it is
principally a matter of calculation
which
is
an
evil
attendant upon
contrapuntal writing,
more or
less.
P.
15*
228
THIRD SECTION.
Octava
gravis.
-m Bmmi
I
=xi
I
^g
3
The
1)
result of
which
is
That both inversions produce similar intervals.

That, as the nature of the case involves, the diminished intervals
the minor
2)
are
made extreme,
3)
become major, and thus
vice versa.
That the composer must be very careful not
to let the parts rise or
fall
too far
(and must have an eye

,
to this in sketching the piece) because,
if this
were not regarded
not only would there be no alteration of the lea-
ding theme,
but a cardinal rule would be infringed,
which
forbids the
extension of the counterpoint beyond the compass of an octave,
although
one does occasionally take a

ning variety.
4)
flight
into higher regions for the sake of obtai-
The Octave
,
is
never
to
be taken at a skip, because

,
the Unison
;
would be produced
of
by
that means'
when
the parts are inverted
the effect
which
5)
is thin
and bad.
,
Sequences of Fourths are not permissible

into Fifths afterwards. tolerated.
because they would be

false
changed
Fifth
,
The extreme
4th,
which becomes the
may be
6)
It is
forbidden to
it
at a skip.
,
But
at
it
commence or conclude with the may be used in the regular transitus,

itself
Fifth
or to take
especially before
the Sixth
7)
any time.
into
The Ninth, resolving

,
the Octave,
into a
must be avoided,
First.
because
best
at the inversion
it
would be turned
Second and
;
The
remedy
for this defect is the skip of a Third in the bass
e. g.
&
Octava
10
9
6
ipg^ ^T? gj^
gravis
E&rf
-
Octava acuta:
^Sl-
-&-
ESSAY ON THE FUGUE.

The Seventh
,
229
is
however
viz
the 7th
which
produced from the Se-
cond by means of the inversion, may be used
freely;
more
particularly
when
another interval
e. g.
is
taken to resolve
it;
for the sake of avoiding the
bare octave;
-f
C7 ts>-
G*
^
i
S3
2644
g^^^P^=^pg=g
i
counterpoint, a
this limit
3=
Inversio.
s>
*=*
P-
^g
4=t
fes
The compass of an Octave
is
fep=
,
not to be exceeded
to
because
in
double
if
new harmony
ought
be originated by the inversion;

will
be passed, the same harmony
be repeated, even although the
composite intervals be reduced to simple ones, and these are not so

intrinsically as locally different
:
much
thus, for instance
the Tenth of a composite

a simple Third
;
Third
is
changed by the process of inversion into

a Second,
the Ninth
becomes
and so on;
in short there is
no
real difference
between
composite and simple Concords except that of the distance between them
pÊn^^smm
9
67
681011
13
12
10
=^=
3=jg==^
Octava gravis.
this faulty
-mP-
^
it
But in order to correct

rity
counterpoint and reduce

of violins
,
to regula-
(which is more
easily effected
by means
on account of the
parts
(i.
,
position being rather too high for voices) one of the
two
whichever
tlie
is
most practicable
Fifteenth)
must
either
be raised two octaves higher

as
it
e. into
real
and the other be
left
was
or,
both parts must be transposed

250
-THIRD SECTION.
other lowered eight
the extent of an octave, viz: the one raised and the
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

tave
;
by
the chord of
the Third, Sixth, or
Oc-
because
it
would be metamorphosed by the evolution of the parts
into an unprepared Fourth.
The transposition of
in
a lower part into the
octave above
is
termed inversio, vel evolutio
octavam acutam: a similar

is
transposition of an upper part into the octave

evolutio in octavam gravem.
below
termed
inversio, vel
COUNTERPOINT WITH A CHORAL THEME.
sfeg^^gga
..43231
i
s
b
b
3
1
b3
$E
ZS1
j*f=^
4
3
6
fc
6
~S>
:M=
Inversio in octavam
gravem:
Bz
'
."31
b3
b6
^r.
3
3
iB-H-kJ-i-^
^^f
IE
5 6
^
3
8$
23
g
is
If
one of these parts be raised eight tones, the octava acuta
pro-
duced, which must, in turn, produce the same intervals again:
by
ESSAY ON THE FUGUE.

transposing
it
251
real Fifteenth
is
two octaves, higher or lower, the
obtained,
in point of position.
COUNTERPOINT WITHOUT A CHORAL THEME.
s *=t
i
*
7
<
>-
ilg
2 3
6 7 3 7
6
E^
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i=
-
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8
r o
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7 a
E
6
-tS^--
Inversio in octavam
gravem
B
1
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6
'
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2
r+^HEe==
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=
7
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ms
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fi
32123
&
13E
Z3C
252
THIRD SECTION.
I a
** ffprtfifeia
3
2
ipsssgsss*
636
7
6
$=*
#3 A
'6367
,-^>
32
.22
Quintadecima
gravis
of the Violin,
(
the
upper
part.)
ME gtep^ft^
F131
3
G 5 5
3C
s
G
etc.
Octava acuta
of the Alto
8 f
etc.
Octava gravis
of the upper part.
?3fE^:
may change
,
rt
-F=f
l
iMP
t=t
fe
(making
it
Although one
this
kind of counterpoint in the octave into a

parts
,
Pricinium or Quadricjnium
part writing) this
by adding more
three or four-
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

recto or contrario.
Sixths in direct succession, either
in
motu
If
these rules have been strictly adhered to,
it
is
only necessary to
first
write a Third above to

the last, and the
one or both of the two parts
from the
note to
piece becomes
a three or four-part composition,
which by
writing Thirds below will appear in the relative minor

instead of C major
parts
;
mode
e. g..
,
minor,
the Thirds also
may be changed
into Sixths
that the
may
not cross each other too much.
te 3!
sz
^=t
G76
34
8
fe
76
j
ti
Se^rÊEgfN^f^g
ESSAY ON THE FOGUE.

Octava acuta
'
235
of the Alto
fcS^5
2
3 6 S
P?fPfS
etc.
etc.
Octava gravis of the Soprano:
\ BBJE
IN
E
THREE PARTS.
ES
3C
i^
3JT
P-l-
î
or
<
?=*
3JE
IE$3
-^
t^
BjEfe^^S
3E
or
<
3S
-se:
*EEES
-i=t-
^^
^^
:zzz
=**
or
<
|b
['
TO5
âjÊ^^g
S:
BS^^
^
3h^
B
I
i!
zsc
mmm
s
rIN
S-7Ttri=^
FOUR PARTS.
:
-(=*--
fe^^=
^Êg
fe^^^^=^f!=f=^ siE^^ afcE^êg g
234
13C
THIRD SECTION.
^=t
S
or
<
-&
or
<
i
g= j
rirp
Ti rftW^ m
t
l
g^âg=g
e s f^^ê^
li
3
^^m
^
IYESz
^fF
In the following Fugue
is
fi^-
^^
=g
is
shewn how the Answer
brought in by the
aid of double counterpoint in the octave.
3E
ÊEE
.--
--p-
^S
Pig
^
ESSAY ON THE FUGUE.
NB.
ISC
255
ISC
^sczamrrr
3^
^
Z?
i
f rfc^
-&-&-
P"
--
ffi
d>
gC
r
2C
0f &E^
n
\
f^(=-S>-
P
-~
-*9-
si
g^^*TO
m
R=5r t2
Il=2-
gEE&m
^gÊ^gEÊfeE
^J^
-&-
256
THIRD SECTION.
S
^sarrrm
.
ÊE&
-St=LZ&
=^^g=^
M-
&
ss
tEt
=t=t
g^S:
t^-^-Ff
-f-^g ^^5
3t-^J:
At the NB.
in
we may
observe, in the
first
place,
is
how
and
the
Answer begins
Unison
after a
pause of half the bar, and
changed, by the inversion of

4
5.)
the subjects, into the Octave, (see No.
K, %, 3,
because the seeither in the
cond or contra-theme always- replies

continually engendered.
to the principal
theme ,
extreme or middle parts, in the Octave; by which alteration another harmony

is
The reason
is
why
the Unison
is
changed into the
Octave instead of the Fifteenth
merely that the middle parts require more

,
room
is
for the composite intervals are
as far as the
method of using them
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
alte-
manner, according
red
;
as the value of the
one or the other note had been
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

of this species
,
we
have already shewn the use

parts..
when
Thirds or Tenths were added to the
-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.
3.
7.
i.
6.
5.
6.
4.
3. 8.
2. 9.
4.
2.
5.
7.
10.
+
To harmony
1)
,
+
,
:
+
without breaking the laws of
obtain the possibility of this inversion

the following rules
must be observed
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

rise to
in
no case be prepared by
3,
a Third, 3
because that would give

8,
9,
3) 8.
consecutive Octaves, viz:
2,
=
it
The bind
of the Fourth is not well applied to the a false resolution
upper part, bepro-
cause
it
would produce
below
7,8;
in the lower part

it
may be
duces
advantageously used,
when
resolved into the Fifth, because
7, 6.
above, (by inversion.)
258
4)
THIRD SECTION.
The
Fifth in
motu
recto is allowed in the free style
because
it
be-
comes a Sixth by
5)
6)
inversion.
Sixths that change into pure Fifths are allowed in motu recto.
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
8)
may be formed
properly.
is
Although the piece be concluded on the tonic, as

Fifth.
usual , the upper
part
must commence the subject on the Third or the

9) Seeing that the inversion is
made
to lead
(with voices) only to the
Third , as proxy for the Tenth ,

at
it is
customary to transpose the upper part
once into the lower Octave.

This species
is
called
Contrapunclum duplex in Decimd acutd,
when when
one or two parts of a composition in several parts proceed entirely in Thirds

above or in Tenths
the
:
it is
called
Contrapunctum duplex in Decimd gravi,
same thing takes place with Thirds below or Tenths.

is
Sometimes a
Third above or a Decima
produced simultaneously with a Third below or

(
Decima
in a four-part composition
a quattro.)
The afore-mentioned
four parts
:
rules are valid for writing a piece in three or

,
i.
e.
the contrary or oblique motion
and no bind of a Discord,

written, sometimes to the
the'
nothing but 3,
6, 8.
Thirds or Tenths
may be
to
principal theme, sometimes to the
Answer,
both in four parts; and
other part
may be
transposed into the double counterpoint of the Octave.
^=
STffe^
zt=fct
=S=F?
WE fES^fM^&^p^g
6
5
634
,w
-I
\
6S8
I
'
'
a-
"
I
I n
m^ ggg^
8 7
5 6
is^F
ESSAY ON THE FUGUE.
259
INVERSIS:
'
THE CHORAL THEME AS UPPER PART.

in the
The counterpoint
the
Decima gravis: (Tenth below) by which means

BJ7.
key of D
is
exchanged for that of
v
ZSZ2
sese^
;e
:zc
S
363
321
^==E^|E^gÊ^^-^^ppE^^ E&
S^^^S
*
6
S
4-6,5
:&
Or:
lower
the plain chant raised a Third
the counterpoint placed an octave
Tertia, vel Dec.
acwtaoftheAlto.
3
i^
&z
8
7 5
6 S 6
fc
3
[?
ti
Octava gravis
of the violin.
^^^^te^^
5
^3
BEE
With
Êgggg^g^gEgg
IN
THREE PARTS
a Decima gravis of the canto fermo, or of the counterpoint.
jBÊEÊ^lE^^-^-J-Jz^z^^
etc.
^1
'
240
THIRD SECTION.
^gEgÊJEg^^PFN
or
&F.
^&=*E&E3E3=$=fE$E&E}=2
To obtain a flowing melody
which the inversion produces
lowered.
'-
also with reference to the
changes of key
an interval must here and there be raised or
COUNTERPOINT WITHOUT A CHORALE.
g^fS^gjg
IN
dt=t
p-&*=>st
g-fec-^-
W=
ft
-
mmmm
THREE PARTS.
m --e^-p^ c
te
^m
i^=
-&(2Z.
sr
=^
Decima
gravis.
f^=^mm
-*>=z?z
&Hs=m
i^^PPÎllli
--*
3=*
^gEgr^^z^^^gg
r
ESSAY ON THE FUGUE.
IN
241
THREE PARTS.
3
EE
<s>-*
f=ff-^=fffefEgEEg6EE3g
Tenth, or acute Third.
IS
F E
=1=
#3qc^t i=3^^q : g=ggg^gp^; t
Deep octave.
3fEEj
s
deep
\
t=
Egg^jfe^jf^
it
In actually working out the fugue
is
not necessary to introduce the

it
inversion at the very
commencement, or
and
to
keep
up
to the
end; the com-
poser may, on the contrary, choose two subjects adapted to inversion, and
combine them
at his pleasure,
in
any part of the fugue.
When
cima gravis
the piece begins on the key-note the transposition into the

(the
is
De-
Oth) will
conduct
to a Third
below,
i.
e.
to the Sixth
above
which
also allowable
when
it
forms modulation into a relative key.
COUNTERPOINT WITH IMITATIONS.
3 i=l=E
-!-r-
^S
#-
-a.
EÊ=
3^
-F3=fc
s>^-
?F-f-
^
f:
ftt
it
feEE
t=t
3*==
*e?
Acute Third of the Alto.
^- rt=
Beethoven
,
3E
46
Deep octave of the Soprano.

Studies.
242
THIRD SECTION.
* ~r
$E
|3Ê=
= g
-^-
BS
^j
#-
Decima gravis of the Soprano.
UEE^gE^F
-<s>
-#-*-
-a
="^bEf
ISC
i^S
fe
^=t
IN
THREE PARTS.
->
-"fEEfc
?=
^
gravis.
^z=
-*:l=t
Êg=^S-
Decima
^r-
rr~
f-
License.
H=e=F
lesr
f=f =*
p^
J^-
gg
ESSAY ON THE FUGUE.
243
Terlia acuta of the Alto.
mm
-ts>
^m
or
<
^S
Octava gravis of the Soprano.
E^Ê
s=-^^^^s *
5=t
-P=
Decima gravis of the upper
^^
part.
_!Z-
--#-
When
alternately,
fill
the counterpoint
is to
be made use of
in all three or four parts

to
one or other of them may be suffered

to
pause by turns, or
to
up the empty- space with melodie phrases, or

be introduced
=t
in
move
in contrary motion
e. g.
to the subject, or to
some other permissible way,
Ml
t-0:TY72~ -0-s-G>
^ E
0-
p^F?*
#-#-
W=iTZZ
r&5
tt=tt
=
es^0=5 pr-m
^
may be used
in the
IE
2C
It is
now
to
be shewn how
this
counterpoint
,_'-";
com-
position.
j
Theme.
=
=zc
:
*^
Answer.
4fi*
244
Although
it
THIRD SECTION.
appears as
if this
it
answer belonged
to the class of
counter-
*point in the octave
(because
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
ject is given as transposed first into the
example this counter-subDecima 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.
ESSAY ON THE FUGUE.
245
^m
s
3l^
ja
<9_
ggg
^g^g^
^3
-(=--
3C
No.
=^
*
J*
zsz:
5.
?E
=l=t
P^S^
^
1
jgâc
3=tB>....;
gj^-- .
|
^^JÛ^&Ê*}
1
iw^m
tea
No.
6.
He3*='=eB
-js
1
:|=4=
rsc
M
<g-
Ê=S
This fugue
terpoint of the
*)
is
\
to
short,
and was written*) merely
exemplify the counart.
Oth,
and not as a specimen of an elaborate work of

is
Beethoven's expression
here
(literally)
manufactured I not a bad- phrase
for the article in question.
246
Although the examples No.
THIRD SECTION.
1, 2, 3,
do not seem
to
be
in
accordance with
the nature of counterpoint in the Tenth, because the Answers

in Thirds
move
only
and Sixths instead of Tenths, yet they are founded upon the rules bearing on this species if they be written as follows, it will be seen
:
that they are In strict obedience to the same.
:*:
&
#*
zee
I
m
3I
#"
g Fr
(at
5=3C
*
it
But inasmuch as the compass of the Tenor (at No. i.) and of the Alto
No.
2.)
would be exceeded
if
realJenths were used,
became necesis
sary to use Thirds.
At No. 3
where
Sixths are written
the
deviation from the rule

;
made
for the sake of
combining the parts more closely

,
it
should properly,
as in a similar instance at No. 6
stand thus
^g~
jee ;gEi
ZSl
fi
TS
==
Though
at No. i
it is
%--
ordained that the subject must re-enter with a rest,
it
is
yet possible to introduce the themes regularly or inverted , as
may be seen
being not
and 5
where an inverted answer
is
brought in
this
only allowable but also lending the composition greater variety-which of
course
is
an improvement.
ESSAY ON THE FUGUE.
247
EIGHTH CHAPTER.
Of double
counterpoint in the Twelfth.
The inversions must be formed as follows

1.
2.
3.
4.
S.
6.
7.
8.
9.
10.
3.
11.
2.
12.
1.
12.
H.
10. 9. 8. 7.
6.s5. 4.
or,
when
Fifths only are used, instead of Twelfths, to
keep within compass
of the voices:
1.
2.
3.
4.
8.
1.
6.
7.
3.
8. 4.
9. 5.
10.
6.
H.
7.
:
12.
8.
5.
4.
3.
2.
2.
The
1
rules attaching to these changes are as follow
When
the Fifth
is
substituted
for sufficient
reasons
,
for the real

latter
Twelfth , the other part must be transposed by an octave
because the
engenders a quite different set of intervals, as will easily be seen by the
above numerical
table.
2) Sixths are always to be used in gradual succession, because they
become Sevenths
they
and
are never to be sustained in arsi.
In the lower part
may be bound.
3)
The Kgatura
of the Seventh is not to be prepared
by the
Sixth, but
with another Concord.

of ligatwra,
Moreover, the motus rectus, as well as every kind

use of in the two-part fugue.
may be made
is
The Eleventh and

identical.
Fourth , the Second and Ninth are often met with here as purely
The bind of the Second

4)
adapted
Tfor
the cadence.
it
v'jj,
In order to retain the original key
will
be necessary
to
makethe
upper part (in writing a due) begin and end with the Fifth or Twelfth, especially at the inversion
into the Duodecimo, gravis.
To obtain the inversion

must
above
the
If
first
and
last
note
is
may
to
either
be a Unison or an Octave.
5)
the composition
be
in three parts, the third free part

first
at the transposition into the
Twelfth above under the

part)
last
note (which will
be the Dominant of the upper

counterpoint requires a rest.
fall
upon the Tonic, because the
The
note of the upper part, which in like
manner
to
closes with the Dominant, should also be lengthened
by a few
bars,
allow the other two parts to form a free cadence upon the Tonic.
6)
When
,
a piece a due is to
be made a quattro
and
to
proceed
in
pure Twelfths
the sketch of the two-part composition
must be made so
and Octaves
f:
as to introduce, alternately, nothing but Thirds, Fifths,
,.
ajso
.*"_
the motus contrarius throughout, and no bind of a Discord.
248
7)
THIRD SECTION.
When
the natural Fifth
is
written instead of the Twelfth above or
below, the pure octave
may
not be struck upon the accented portion of the
bar , because that involves the entrance of an unprepared Fourth

inversion occurs.
Either one
part
is
when
the
This defect
can be
remedied in two different ways;

,
may use
the double counterpoint in the Octave

real
,
when
the upper
to
be placed underneath, or a
,
counterpoint of the Twelfth.
The
ligatura of the Fourth
the Second
and the Ninth may moreover be
made
available in two-part writing.
PRACTICAL APPLICATION OF THE LAWS LAID DOWN.
3$E^
10
?
121110
J
^&fe -#
6
#-
--*=
5
-*--
10
#B
^qtT=P 3=*
-0m-
fe^p=
~sz
S5
3+667
EVOLUTIO IN DUODECIMAM GRAVEM.
'
ESSAY ON THE FUGUE.
249
Duodecimo, acuta
of the Alto.
|j
or
Qctava
localis;
permanent
part.
gi=K
3
12
10
12
etc.
-T5C
JL.
Qitiwfa acwto
of the Alto.
3
3
1234
1012
678
Octava gravis
of the Soprano.
3&==E
~SL-
^-g^SEJEÊ^gg
'-4
5
3
-s-
S6
109876
4-
#3
S^gj^s
-, fS--
EEEE
COUNTERPOINT WITH A PLAIN CHANT.
^Êfeg^
ITifF
=t
10
g^S^r?N^
121110
9
5
67
10
fc
S
^
12
^Si-
-r^-#-
=i3r
eeee"
10
7
0S
345
S
#3
"E^L
INVERSIO
:
1E$E
I2C
8
I3Z
.10
9
iEif^
1=
ms
12 34
76
456
Duodecimo, gravis.
250
THIRD SECTION.
m
8
3C
w
8
Pe3
13 =
fegE^=p=fEgE^^Êg
i
Duodecimo,
vel Quinta acuta of the Atto.
/A'
~4w8
1098
543
12 3+
g
876
etc.
Octava gravis of the Soprano.
^==r^^^^g--n f^^
.4
2Ve: Duodecimo, acuta, free part, Octoua gravis.
3E
]33fEsfe;
3E
S
rW-*~
?=
S^
-g>-*-
rff=
.fe^lS
H^ frfjf
SP^JE
leil
tE3^-j
^^3f^g
fe
.4
^m
ISC
(/ue:
e irmâ^j=l=^ ^

ESSAY ON THE FUGUE.
231
Duodecimo,, vel
E
I
Quinta gravis
of both parts.
^T
(
^mJR g
g^Hgf-f
i af^
.4
First
upper part, or Quinta acuta of the inversion.
tre:
<
3$E
IE
Deeima, vel Tertia gravis.
ÊSÊEJgEfEÊElEEEg
First
lower part, or
(hw'rato
acuta of the inversion..
&$^=
or
:
<
5E
9Rfr
-yS> -
SS
=t=t
-1=3-
glEEgEJEp=^=EEg
or : with a Deeima , vel Tertia acuta.
^4
SEE
Dec. acuta.
:zr:
Est
^
-t-
ÊgEÊfEEg
-|S
*=t
e>-
zar
SEtfc
or:
S:-
Tt P S3EEEf S=rrE
*EEE.CL*
F*i!
j^
1
g36EpE]EEE
2S2
THIRD SECTION.
a quattro,
^
3z
with Tenths or Thirds
to
both parts.
Dec. gravis.
ZJEZ^=^
Dec. acuta.
ggÊÊg^
^=f=f=?=^m^^ ^
$E
rar
P
or:
"^
^
3=* Wt !-
Ss
SÊ^ ar-^ftrt
=t=fc
f^^B
&&--0^
=l=t
S 8
5
^
a due;
<s-
10
B^=
(|Hlil
^^^^^^ s mm
Cum imitatione.
*
B 3
=P=t
IB2

ESSAY ON THE FUGUE.
INVERSTO
:
2S3
Duodecimo, gravis with a permanent part.
SEE
=t=
(f**8
*
S 7
s * -^ :t=E*
5
^~
10
7'
10
MEEgE3
^
=*=
---*-
-f.IZffi.
:f=t
EElEEEEl
g^g.
iH
3fc
a quattro:
Decima
acuta.
Ê^SS_
5
=t Decima gravis.
EgE^
*=e
9re==eêe
# -
=t=r=t
EtEEE
zaz
S
License.
Se9=:
SE3E
^3E Ttztizrac
PEEgE
*^
3C
2o4
THIRD SECTION.
NINTH CHAPTER.
Collection of examples in all three kinds of double counterpoint.
NO.
1.
Counterpoint.
lpggpB^^B^fp 7313* 6367

8
F-#---
sC;:
7 6
5
653 434 686

(=*
^S
7
6
--i=
(Si-
-_.
Chorale.
gi=g
Chorale, Sva acuta.
ff
<s>-
3= ^^% ^m-^\ ff^mf^w^

7
6 7
fi
12
363
346 565
\=r (
Counterp. Sva gravis.
Counterpoint.
^=hz^=^^^
3632 343
2323 2343
1345
^m^^0
10
987
636
p^fif5feE=s i5HEzzn
Chorale.
^ggyagp^^fe^^^^â^
7
658*6
6534
65
65
363 432
-*
Pe>~
'
j*
3
67
I^^^S gpg^ T^g 6-

Chorale, &va acuta.
8
<s>
ha-
10
106
6789
^w^K.
mr-
^1
fTniinfp.pn Counterp.
rtrninx. 8va gravis.

Ri/7.
ESSAY ON THE FUGUE.
255
i^S
2
-P
3
*5
34653
S gE^
*
34
#3 4
63
567
g^^^gj^^g^^^
ÊfeiÊS =t
26
32
^
3
C.
f.
86
65
4b
65
22=
3=&=gaM=&=-^Sig
No. 2.
Menuetto.
Fioiino.
*=
S^:-
Ti'oJa.
EtEfeg^^Êgst^
C.p.
r? r\ f\f*tna\n acuta. nntiln C. Octaa p.
*^
Ifc
t=t *z r*3t =brz *-.*C.

f.
=1-
?^?ag
agg
Octava gravis.
*^~
C.
f.
n^^^fe^S^pg^sr^^g
C.p.
j^ ^^SgEjg i
S^g^g
^tegEgEgE^fa^J
^S^^B îL
2S6
THIRD SECTION.
ii^ti^^g^sasgpqffr^
C. p. Octava acuta.
mrTrgs^jjd
C.
f.
Octava gravis.
^^
-!-
fTggpEf
g-T
^
3.
afe^fe^gfejgEg^g s=3-E2
-
*=B3
No.
A.
^Rzg^&0^
EE
IZJI
ee=
s
hz
ss
r-v~^=f=\
ESSAY ON THE FUGUE.
2S7
3^
Quinta acuta.
^
ffi?
i=t
#ft=
aâ^g
-*#
S^
E
321
elgS3=^&ilg3
D.
<re:
LîEpSE
pi^sgf
-"F=Ff--
pa^
eppii
EEFE
:3s;
*=t
part.
IS
Decima gravis of the upper
fes g^?^
3=t
r-1
gÊE^^ÊEE
-P-
* .
*'
EEite=
?
JEfe
zEEfE^
EEE^^Êg
I3EI
Ê^^^^=frf^^^
^^zj^=f^4=ÊB=ig=g-g=^-Frz^
Tertia gravis of the
ISC
upper
13 E
Beethoven, Studies.
S
*S
part.
111 *a
<7
2S8
THIRD SECTION.
*-
^Sipi^S SE
EÊ|
fEf=f=r^JE^gEJ^^r
P^S^
F.
EE=
Decima acuta
g=
=
2:
teSz
of the lower part.
Octouo gravis of the foregoing upper part.
^ ffi*
&&
Octavo
zc
=i==t=t
lower part.
s
-*
localis of the foregoing
ne^g
3C
ÊÊpgg
11
-i
-*-
.^^^
E
(toM'n'ta
i^
Egj== fl^fE
let.
?=r^*
gravis of the upper part
E.
E$EE
^3=E&
fundam
:
Tertia acuta of the
part.
ê igjggp
@nta gravis of theiower part
let.
E.
ESSAY ON THE FUGUE.
259
tt ^s=^mm
=^=te e=b=
f
^^^gg
m:
ÊEEZm
f*
y=&^=F=Epg
H.
Sfe
^^^
Original upper part.
a guaMro:
4-41-
PFP-
jI tt4
J?*-*
S==
Decima acuta
of tbe bass.
F7=^
fc=TFFQ
Decima gravis of the Soprano.
mm
-PPr-P-
0-
s==;-
J=t
^m
:
Octava gravis of the original fund
part.
gEEEBE&EH 4==^
&F
^feEteE?
S=l
^^g^gi&
g^HEfe^
17*
260
THIRD SECTION.
e UE=
33
-0-F-0of the tenor.
s
iE^
Decima acuta
s
fe^
EEEEE
Quinta gravis of the
~BEL
first
up
part.
S^
fefEEÊPES
EEEEEt 3C
:
zm
Quinta gravis of the original fund
part.
gg feEt^f
alto.
Decima gravis of the
!=gEg
53
^==F=f=^=^f=feBEXC_|^
^fef3g
^Pi
12th.)
gjEÊEg^fegÊâa^
FUGA ALLA DUODECIMA (Fugue in the
No. 4.
Violino
primo.
m
Gomes.
=m
Violino
secortdo.
g^3iyfefc=BS3^p^gsg
m$E
Dux.
Viola.
Basso.
%JtuJljLZ3%^
ESSAY ON THE FUGUE
261
l
Dux.,
zz &p
Decima acuta.
&
=ef
ÊEEEÊfep:
Dux.
te
Comes.
iBl
m^m?m?(ms^m^
î^
Dux."
=M&
ft=refc Comes.
Dux.
$
Comes.
lE^
Octava gravis.
^r^Ê^^^jBigE^z^g
^
fe*
Dwa;.
Dec. gravis.
Si^îiS^
f
===
il
lsÊtÊEÊîg^;^^
Decima
acuta,
^^=|^g
zrar.
feEgEJE^^ gB
Comes.
IIEJ^S^^B^^
\m
y-
E^
Dux.
W 262
-#-=--^-,
THIRD SECTION.
Comes.
t=t*
fe ^=-TP
g^f^r^
Decima acuta.
iB-^jâggjp^^g^^^^^
Dime..
Dux.
TerMo"
.
BE
^
I
Tertia acuta.
-*-^
I2JZ
-jg
H^
*
Comes.
333
^F
Duodec. gravis.
-mrte^=iiiSl I
*-'gravis.
**
Duodec. acuta of the theme:
3iB 332
-fffi
:a=
i)ec. gravis.
EfeEJj
g JJQU f frE
Dec. acuta.
m^^m^^^^P^^^^^^
"&
-0-
Octava gravis.
+.
+.
Comes.
^5
S3E
T==iTkBL-
-s^Bee', gravis.
=fe^
Dwa;.,
i^^:^ffl
I h1-+-
ieS
ESSAY ON THE FUGUE

_s
Comcs.
<52~
U65
fegggE&
PSEEzE
fe^g
Sexta gravis.
3 ^
Si*g
rfF :S!
a
I
gâ^^^
3= -e> 0Tertia acuta.
flwa;.
Decima acuta.
fr=j
1~ ^=-
i^s^g^
Dux.
iSfegsjM
gF^figsgg=g
Comes.
2,2::
3C
3=
EfcE^ t==t
****-
Ê^^^^^^^^P
Comes.
frlQîtE?
^BÊEgjE^
lEEi?E=lfcEEl?t
Decima acuta.
fe
Comes.
i-z^z
m^s
Tk

264
THIRD SECTION.
-^G>-
jsrzzjtt
fe
ftfW=3-\j 3
=^=
fr
J-
"
^
a>-.
4
**s pt=H
*-f=tst
iii^
ISC
^^gâ^^g eg a^^Bs^^^jH it ^Si^

-g-
53= tijte
tq= Pig
-f-=t=t
-i^-
t=^=t -*-#
i-^-
3E
ft
a.
3 -}pi=% \*^
I3C
IS
f-TDua;.
Restrictio.
Dux.
I
Dux.
5
i
fe
fl
Duo;.
3=^ i^t |^rt;g|=gEb^4EiE^^^:

=^3 +-#
-&*
feE
a S33
ESSAY ON THE FUGUE.
26S
05
**
^ffi"
g=^#^^PE
<g h
I
|
I^Ê
3^?
3 gg E ^^t^^fa
*
r
*=t:
^
flux.
-(*-_ <9-l--
tt
=rE
=tt=4
-itE
^3 i
TTi-#-*-
i
^
ISC
P^zziziSexta grams.
*t
-* ==-d-
iS^^^gEp^
Tertia acuta.
^pag
-#-#-
i=t
-*
*S&l=^Sgg
3S=
Comes.
|
; s=-t::
JEE^^ :&
SilSS
3=fc
I
'1-.
a *^-
,.
SH
~f
]S
m^ma^

266
FUGA
No.
THIRD SECTION.
ALL' ISTESSA MANIERA.
(Another Ex: of the same.);
5.
zs=
m 3fE
Chorale.
^m as
Counterpoint.
B@gg^^gEp?^g
Counterpoint.
Chorale.
fcfte-
g
\
;
-f-m-
#-<g-
=tt
:t=^=tt
T?"^^-
#E
teEÊ^^feg
Chorale.
fe^
-(St:
-&-
Counterpoint
^g^Sfej^â
P-Rt :p:H F~ I
I
ta**
4*
Decima acuta.
"^S
E^fS
Chorale.
+~*r++Z
Counterpoint.
.gfflSl^^
TI^ZZ_
es=seêSe?#J3
ESSAY ON THE FUGUE.
267
ii=
tSEgfifee
1
Duodecimo, acuta.
fe^ See
Chorale.
m
:== =tt
i=
geg=^=^te
gravis.
Decima
sg^g^
Decima
gravis.
SE
*-*
%j^gj^peg
Duodecimo acuta.
i=t
f-p-
s?
33C
^Êi=^
Decima
zzz;
P=p<
zs:
Ê^^Ê^
gravis.
f^SSS
Decima- acuta.
=p=i=F
saâasssi
.Dec. aeta.
ISZ
2SC=::ffi
--B
*
Dec. jravis
B^
P-*-
--i-
rs:
Duodec. gravis.
268
THIRD SECTION.
[S=5F=&&E$=Pfr >-
-m^mr-
g^ÊÊ^^-|^^
,* &'
^ t=t
-*^-
tfEE&.
i^^
PE
*=t
S^^B^N
:t=^*
75-
g fFgffk JE^
-!
fe
-g^-fa *-
3=t=t
fS
:
ifegjfjp^
-^-
is
*t
p
i ;===
-#-*-
=tt=
**
*
121
*-[-*- t=t=
tt=^
Hfi
r-S'-
32*
^^^^^^f^^^^
i
gjggjg^
gga^^^jjE^:^rg|^g^^B^^fe

ESSAY ON THE FUGUE.
269
Decima acuta.
U**wrt&Ez.
4*-i*
1
*<-*-.
p-ig-~T
m0-
t=zat=ct
Duodec. acuta.
Decima acuta.
jjfFgfe^
lElz
"ST
Decima
*-,-#-gravis.
Octavo gravis.
*- --*tl=t
gravis.
fct
i#-M
Decima
Sg
+#-#-
tt
#= |SEfE&EfE(E
t
Lte
-w-*
FTT
!*-
=t=3=
^^
No.
6.
~?g"
FUGA PER DUE
VIOLINI,
ALTO E BASSO.
SgggÊg^^^gEgfefe^Ê
Dux.
n= i E3
â
v^-=
*-
Comes.
IE
3E
270
THIRD SECTION.
i^ #
**
j^feEtefE^-g^^
Comes.
zzm
feâ
*=P
m
s
x==x
P-
J-rj
Dux.
tf
i^
^
Comes.
Dux.
*---*-
tfEEI-gEEa FfÊg **t
^r=rgfesa-t^gg%f^
SeS
V
Dux.
Dux.
3
*==*=f
JEe3e=S
4=
=
^fe
*F&=?
=^^f^=^^^=^^]
ESSAY ON THE FUGUE.
271
pm&=ds=&m=
eE
3=t
-ft-
-#-
^==gESJ=^|g^^
#*
3=
jb=^
&
Efe
Isfete
SiC
Mf=fe* S Ê
feggfBgE-EJÊC^fE^
!-#-*-
^ P^gg-jff^f?3i
Decima
gravis.
g~j T J <rg 33^

.
-(_
Ie
e6
Decima
acuta.
i ^^
Decima
mmm?=^m
gravis.
.
*EE
^S^^S^^^^^^S
w+mA }&%#3m&^m
^^mm^*^m
#
272
THIRD SECTION.
I ^fegj
\
^? !-
*
jfertja
==
prows.
IS
Lfe
m=mmmiMm^^l^
~l
,-iffij:
* Qe&
^^feg|
**<,
.:
3fc
=&
.*-*-
SSH
^^^^=^^| g^gg^=r^j=^^==|=3
E
^ m*
ît^^^^
feU^^Ê^^Ê^
=1
*
=t
Ê^feggf
Eg
^^^
fefi
S E=^SB^
g^f?=Mj^=^p
ESSAY ON THE FUGUE.
275
****.
SBvsfe-ffe-^
1
i^
intfirsuhieRt. Countersubject.
*>
3=S
Leader. (Dux.)
3t
*=3t
3=4^=3=
==
7 b
=g
'
^^Ê^
b
Countersub
fc=^
=
-&-
s**
^ ^S^=?
gfe
t==g
B=Leader.
&
Countersub
:=
Leader.
33
m
Countersub
^=-j--
la ^44^*3
F*
1
=
ggjjj
^gSlfii]
*
Beethoven
,
:=
Sludies.
3=
274
THIRD SECTION.
iip^l^^^^
~m
tst
e^
i^M
^=e:
Leader.
^
Ss3 -t^L
El=
i
5=
*=E
S^^pS^
*E
i^ggig
g^^^fe^fl^^^^^
i
Sfo'
L1
&
Dux.
-"
-1
|->T
<=-
3=d4
=S=:
Seata gravis.
p ==
gSâiBi^gkg
Tertia ac<o.
*tttfa
W^j
Decima acuta.
fTft^r
^^^
ESSAY ON THE FUGUE.
273
"t
3=t
=?==
i
jjpgEggg
fLjF=F
j
^m^^m
1
9Ms
-f
'
'
'
1-
i I ;^^^=i^
HE
#*-:
Jf
s^^-m -"P=4
tt
|^^P
tt* f
pfS=^
^^^g^gUi^
fcq
^=
-:--/
aj^J^tf:
Dure.
^f3^3E#ir
^==&
=f
e?
^^ m
^^m m
:
^=f~fr
276
THIRD SECTION.
^&diJr CT 3 5 PTlj ~rz^ i pppisfe n ^ i^S S3 P

fl
-zt.
I
4,
^=t
Dux.
feE
gga
ggEe
Era-
^W
pepg:
fefcfei *=*
^^p
U-
H
$
Ijl
n#-
Duodecimo acuta
=P
4=
^ ^^^^^ss
3=
3=t
flJ~B<lJ-J=FftE
Dux.
^S
ESSAY ON THE FUGUE.
277
"
Dux.
^1
i i
^=ff
ferMo gravis.
3E
-^^
iE^Ppa^feyg^fcjg^
rer/f'o
^P
acuta.
^^r-^%^^^H^-^-^S
i^ s
33*
3C
m&^m&.
TENTH CHAPTER.
Of the
A
inversion.
composition in which no bound discords occur
first,
may be
to
inverted in
two-ways;
by the exact contrary, secondly, by

all
the inverted contrary.
In the former case
the notes that ascend are
made
descend, without
regard to tones or semitones.

are called contrarium simplex;
This and the opposite method of proceeding

e. g.
"
^->
Subjectum rectum.
Contrarium simplex.
278
THIRD SECTION.
The inverted contrary (contrariwn reversum) is objairied by adhering the musical sequence arid, accordingly, changing all the Mi into
e. g.
Strictly to
Fa
tones, and vice versa,
-&&-
zsr.
-3C
zssz
-&
Z31Z
in drawing, a parallel of
the right
th.osei
notes which, rise tne
'eft
and
;
fall
on
hand, the
is
result- is that the inversion asuaals the disconis

C,
K, for
instance,
The,
changed into
species
:
into B-mi,
into A, etc.
first
is,
ternjejl the flat
(o,r
broaft) inversion,
and may occur

e. g.
in five intervals, viz
the (jjciaye, Fifth, Fourth, Seeond,
and Unison;
in 5ta.
p3=A^^^^^^f^S
Contr. simplex in 8va.
in Ha.
in 2<fo.
Thema.
s
subject
is
i
and semitones
,
;
^
strict inversion
,.
^
i,
all'
unis.
--sh
3=
when the when subprogres-
The second species, the

sequently
sion
,
onjy practicable
taken up a major Seventh, Sixth, or Third higher, and

all
the tones
and the various methods,
of.
aje accurately imitated in a contrary direction

e. g.
going, neither higher?
nor lower than the original theme

Thema.
^^^^s^^ ^^^^^m
Contr. reversum.
in
Ima.
in 6ta.
in Stia.
By an
artificial sort
of transposition
may be
obtained two secondary
kinds of inversion, viz:
ist the. retrograding
(nwersia cancriaan&) where
every note, is: copied or repeated backwards , from beginning to end,, sometimes higher or lower, according as
require
it
;
the,
modulation into relative beys
may
e. g..
Thema.
B.
-<9~
~im
-<s-
^n
=t
3=
retrograding.
or backwards from the'Sd below.
ESSAY ON THE FUGUE.
279
2dly. the contrary retrograding javersisa (hwersio canerizd/fls eontra/riaj
where the foregoing
is
again inverted throughout p

A.
e. g.
From
From
B.
^
The two
intervals
first
,
Sfc
contrary, retrograding.
(Wofeld any one believe that a composer with a grain of comiflon sense
could ever demean himself to such ridiculous

last
triflesv?*).
species
in
which no
attention is paid to the value of the

;
are not applicable
when
the leading subject contains a bind

,
the
two species may be

;
vised
everywhere
1
provided that bound discords be

as*
avoided*
they
may
also
be rendered of some small service, inasmuch
they afford the means of diverging into other keys in a natural manner
is
as
pTBved by the concluding note
note,
which
is
almost always different.
THREE-PART FUGATO
Allegro.
IN
THE BROAD INVERSION.

(Composed by
G. F. Handel.)
Violino
primo.
|fe
== r*
j
sgipi^p %r
*-
Violino
secottdo.
e=
Basso.
iteip^^î&^
tr
*&&*i&b3^&&3*
I F^S*
*)
i+--F
,**.
rfc
=t:
:=#.
gf J=t
--!
i g
,
S^
now,
in the
Shadaof Beethoven
tfiere
could'st thou but
know
that even
critScs'
!
year of
P.
grace 1962,
are
still
some-self-styled musicians and
who regard these
and similar
puerilities as matters of
importance in composition
280
THIRD SECTION.
=^Sga^ffeÊft^
^JfelEEgEgEgfeÊî
\
g
tr
m&
$
i
tf=
i^Sji ^g| V E^g

-*,
1
feT~r-feeqi=qE:p:
gtgf
g%
#
-!*-^
!"-
msmm
SEe s t-r
^5 |=^
E^
gfcfe=^
IS
pigg^
fitegS
*---
^^ ^rf-^
:tt
^5=P
fe5 ^S
&P3==
^ s ^3 pEgg^
P
3^g
i=s^^g
ESSAY ON THE FUGUE.
281
jjfeg^
IS^^^^^gpi^^ n
* .
.
igiaî^^^îig^î
^
5^#fe^
fe-
p^^^^^g^^^
gfeg^r=feN#
^îi^^g^^^^
E3=i
^SEg=E^^^^g
JgE^jfe^^ fe^ffi^ ^tg ^P^P
282
THIRD SECTION.
m
&EiE
*'
i
1*
i=M&fe=&&&]
4r=
l^^^m
fesE
ggfi^^fe^
feE3E^j@E^
m ^
E3*
3E
g^SSI
Ê3
*?
0--0-*3-TSJ-
^=
it.
ÊEggg
fej^3^=|Ea^-^^3J^^feE^gEE
^^^ p^^BTO
fe
E
!*
--^*TdV^ =Se
ggEggJpg#p
feg
-tt
itegls Jg=^^g^%=T^^gÊ
sa
(r.

ESSAY ON THE FUGUE.
283
east foB^f
i=fe
1
ig gliggiiSî
f--'H
^^3E^^^Êg^gg
^^P^
P
gMagaîpp
t &EEE? 1
2
f
!
jfeK
E3EgfeS
ass
-&
5*1
i-
*m
gsgg^B i==P
m
m. *==** fe
^m
EEEfe
$e
I
g
E^=^S
=^=3-
S PP^ & Ht** Si^S^g*
p^^^^^^^^SÎ^^
284
THIRD SECTION.
^ en es*
j
feEfegBigiigg
îmES
%^
SE^^
ÊS
l
i
lg^^Bfg^sg
4=^
sfegggp
^tfrjpJS^jMi
P
U^
Ê^=Mt^M
-i
m
fe
^
i^s Et
Sfe^ ^^
j
#r
-F-f
^^^s 5^^^gE"^^fg^
-*-*-,F=P=s==s=rf 35_=
j^^r^ g^
PE
^^^^ ^qEi-^^g^gi
E
ESSAY ON THE FUGUE.
283
^j0Hffi
$fes*
**
SP
+=*-
3=3
IgEE^^g^^î
ELEVENTH CHAPTER.
Of
the double fugue.
particularly that with only
,
This, kind of composition
two subjects
is
it
founded solely upon the counterpoint of the Octave

scarcely differs at
all
,
from which indeed

at the
whether both themes enter together
very com^
mencement, or separately afterwards, when the
repercussio has
been finished.
To
these motivi aro also to be selected two different bats appropriate contra-
themata, which are by degrees combined with the leading subjects.

regulations attached to the simple fugue
The must be followed throughout, in
addition to those of double counterpoint in the octave, in order to secure
the necessary transposition of the parts.
To manufacture a double fugue with three or four subjects and

First
,
it
is
indis-
pensable to observe the laws of three-and-four-fold counterpoint in the Octave

,
also the following rules

it
is
customary- to write one or two parts more than there are

,
subjects contained in the composition occasionally rest.
that
one or the other of them may
Secondly, the subjects themselves ought to move in a different manner, and not
all all
to consist of notes of equal value; they should not begin
at
once
though they should end together.
Thirdly, none but perfect and imperfect chords

the transposition, and no discords;
e. g.
may be produced by
286
THIRD SECTION.
|lSi! g^g g|g

G G 6
lingua
6
340
G.
or:
3,
823
668
334
âi
Fourthly
,
=&
=1=
bad.
good.
is
isa^ffi
good.
bad.
good. bad.
the bind of the Ninth

*
forbidden
because
it
would be
changed in one case into
in another into I
e. g.
pmzÊhi
10
9 8
bad.
bad.
zgzz
E
2
3
S
2B=
Fifthly
,
^SS
5
^^S
6 7 6
3C
two pure Fourths may not follow each other
e. g.
=t=t
6
J7"6
#-
g^^ J U^ = fc==E
t> fi
===
3^F=*
V
3333 dQzCzp-ll fr -f-f

,
S
b *
J7
^gn
332.0
J
SI
hjTa
,
All "which is
bad
clearly enough.
is
There
i.
is e.
however
one excep-
tion, viz:
when
the second Fourth
extreme,
a TritoWus; e. g.
ESSAY .ON THE FUGUE.
287
fg
!&
<
gh -l -+
2Z=:=?E
I35Z
(a
=?
S
6
Sg
result
rar
=
=t
false Fifth.)
(No objection can be made on the score of the

Sixthly, the Fifth
must npt be heard, as
distinctly struck,
because the
would be
(in the transposition) an
unprepared chord of Six-four; e.g.
m
m
=
principal subject
;
bad.
-p-
zst
The other transposition

is
good
e.,
g.
3
either
|
The former of these must, therefore,
be omitted, or else no
Fifth and nothing but the complete chord f or

e. g.
must be introduced in the
good.
good.
tolerable.
good
in transitu.
^$pmm^=^
=F4
*=*z
L>
43
34
3353
fete
3 3
p=p=:=^=qB=i
*
3
6 S
l>
3t
5
'#456
gsj^^^^^^^ paiR'^^ a^^fryr^^
288
THIRD SECTION.
ii^^^sîiiîiii
2323 2313
2
33
34
3*34
3.4
*"*
&m&fi3k
Or
better at the very outset
ftffij)
jJ^Mh^
-<g
p^^#^#^p
f^bj^
Third
,
3J%ft
-H^
3E
jj
r*ms&=ff
Six-four-,
is
etc.
Seventhly, the direct introduction of the Sixth with the diminished

in mtitu recto, is forbidden
is to
on the accented parts of the bar, and,
for
the latter
be substituted the Octave or the Unison. Even in the contrary
motion the chord of Six-three produces a discord of

the transposition
safest card.
;
by means
:
of
the motus pbliquus
and
will always
prove to be
the
m^
=
^g
improved:
<
*
The
g
fc
interval that is
,
^
wanting
=t
=t
bad.
is
supplied
is
when
the piece
is
written in
many
parts
by the
free part
which
not to be conjrapuntally transposed.

it
If
these rules be strictly and carefully observed,

of)
is possible to trans-
pose (or string the changes
a double fugue with three subjects in six

in four
ways
and one with four subjects
and twenty ways, without making

!
use of the counterpoint of the Tenth and Twelfth

of succeeding, and not to
But in order
to
make
one's reckoning without the host
be sure
as the
saying
is
sable to
* or count one's chickens before they'ne hatched; it witt be adviexamine the subjects narrowly and find out whether the transpo-^
,
sitions will
not give rise

this
,
Sound
To
transpositions
( nice work for a Poet pf end one should try three primary and (hen three secondary according to which the parts appear as follows
to
some forbidden chords
ESSAY ON THE FUGUE.

FIRST PRIMARY TRANSPOS
:
289
SECONDARY TRANSPOS: OF THE SAME.

Middle part.
Upper
part.
Middle part.
Upper
part. part.
Lower
part.
:
Lower
SECOND PRIMARY TRANSPOS

Lower Upper
part.

Upper
part.
part.
^jfaiso-wer part.
Middle part.
Middle part.
:
THIRD PRIMARY TRANSPOS

Middle part.

Lower
Upper
part.
Lower Upper
It is
part:
Middle part.
part.
is
part.
easy to see that the ground-part of the primary, transposition
preserved in the secondary, and that consequently the same intervals must
be the
result.
No.
1.
EXAMPLES OF A DOUBLE FUGUE WITH

~t>
SUBJECTS.
EE
iV
First
primary
transpos
:
<
fJ5ÊlE
3
G
8
3 8
H
7 8
-3
fe
gEgg^pgigî
Secondary
transpos
of the same.
3EE
m
E?
-(=-
m
*E
iSBE
&E
Second
primary
trans:
PEE
C 3
3
4-38
2t=EE&=g^3$=m&Eg^
Beethoven,
Studies.
19
290
THIRD SECTION.
|fe
Secondary
trans: of
<
=3
*==E
JÊ^ =
the same.
1-feE^gE^PÎÊ^^
EEPggg^SgElg^g
Third
primary
trans
<
FF^
h2-
feE IS
te
Secondary
trans
:
-9- g =fe
=4
of
<
IBÊ^^gEÊÊ^Ê
[
the same.
gEE
s>
5=
THE ABOVE FUGUE WORKED OUT.
EEE
Efe
C.
Vu
-j-m-
EE
'
Thema
TA.
i4.
_ Thema B.
=-
PEPE
TAenla 4.
n.
-1
b.
iÊÊ^^=^
11-
m 33
ESSAY ON THE FUGUE.
291
&i
n.
c.
=*=
Th. A.
wjs-Jt=sâ&rr^
Tfc:
3J?==
ste
mt
^m^^^
Th.
gjiBgEfe^ m
Th. C.
B.
zl&
Th. A.
Th. B.
f==tf^^t=^^!&^lg*#
^grgi^^^ggg
Decima
gravis.
Wt-U~-'-*Decima
gravis.
sgpisi^^
Th. A.
^si?tm^^^= ^m
Th. A. (Semirestrictio.) Th. A.
al rovescio.
==
Th. B. Th. A.
m^m^
1
rfc. .4.
Th. B.
-_[-
^=Îj-j.
ES
Seajta grav.
^Îg^^feÊ^^S g
Th. C.
s^^^^
, 19"
:
oi rouescio.
Dec, gravis.
fi
292
THIRD SECTION.
gfe^HggffTffig&
gm
^q
>
â
i
uj
g^
(==a
,i
*=- ---
Th. A.
Wz
mz^Lm
_Dec.
^gg^BP^gî3=fc=
7"ft.
.4.
3=eg
i
_-
r-
fe3 ^^S
acuta
ra.
,4.
fe^fz=g=fe|: S^Sg"Jgrg^
Seirta acuta.
mm
**=
^
Th. B.
m^=^P^=i
Th. A.
^f^ff^g ^ sEBjja
fe^Sg=Ss^pF=
^=*
Ê^f=g=^^gsgr=l^^fe^
Decima
gravis.
SOUS
Decima
gravis.
g=Zjl^j
[^/%^ f=i=fr?g
g
+
ESSAY ON THE FUGUE.
Th. B.
Th. C.
295
3=!=
JEESS^gEgi&==feg
Th. C. Tertia gravis. Th. C.
w#ttPff^miF=*=&&& Ie^^^^S^ ê h^S^ ^ 3= R=r3~?P=3

p=E
TA. 4.
fflestn'cto.)
SE
fe IIS
^^
;S
ta. c.
Th. B.
Q^g^jgEgf
JE^ff^^feJES
TA. 4.
PM-dff
J
g&
-:
isnis
^^JT^^fe^r^pff i
TA. ^.
3=
lEfegfegfe
aE
g^Sg
TA. B.
gg^^
TA. C.
gffjg
Tertia acuta.
BlE^
TA. C.
B3E
^^3E3F=^=feS * '^^^^f^^m
Sea;te gravis.
c
294
THIRD SECTION.
m-
S^
Th. C.
^
U&&&&&EE&
Th.B.
Th. A.
=*=e
Th.B.
Th.A.
^^^feEE^^^^-^g^ffi
Tertia gravis. Th. A.
m^B 1=^$=&= ii
be
^^^^==e
e=giiggg6il
r-Fxrmf
Decima
^^&frm
Terlia gravis.
lE=
gravis.
fette t=m
^m
m=*&
ffi
^m^^^m8&Ej=s^$^
j
Decima
acuta.
Efc
SEg^^g^
g^fea
SfeS
jS
2=?s::
eS
&
i^=a^^^
Pfei
p
ESSAY ON THE KUGUE.
Th. C.
29S
fEElE
P
TA. B.
^-j^^^g^g>jggjj
^^
Th. B.
^ggfe^B
P^l^
Th.A.
*=
TA. JL
3fe
g=*3
^^
c.
Decitna gravis.
3==
*=
?rf S^fif
n.
5E^5
t=tt
7"A. il.
.g^
^^^fe^g
TA. B.
P&P&=F# &=^
J7i.
5=
J.
^
r
*M-t
Efe
Sî 3
Tertia acuta.
=&
* t=:
--
m psiaii
TA. C. TA. B.
g*E
gg
rfr
m*m^0
sr*=
gjfe?r
H pfa&âg^
Tertia gravis.
296
THIRD SECTION.
=fe
f*
&$&^M^=*t
f-s
Th. C.
Th. A.
^fefete S^=w
^t
3C
Th.A.
-^--^
m^=^
No. 2.
.4.
3?
kp-vA ^fagg
!*
TO
^^g^^g^^^g^ i^^g^^
#..
ffig
^^^feâgi^^^fe^^^r^
^.
= := terri^Sfefez
te s
B.
^=g=^^^^p^
^
ESSAY ON THE FUGUE.
297
EÊB
c.
zzzors.
J^^ggEJjEB
ipfe
fz-s>-
^9=t iE^g^fegjg^g
IE
$=t
-ks>-
jfeg
t=t
t=
4>=E
B-
3E
gfeB^gÊgg
c.
-*-#-=s
*==
Jfc-'
sin
j- -rq
=l=t=s=
tefe
SB
^--
pfcpS^S^ ffig
-
B.
t r*-m-
i3e?
5r=pEÊ=Si
298
THIRD SECTION.
E& e
m?=? ^sgmz>=jtfzt?
i
feE3iS3=
g
=
C.
Ei^S?
5 ^^jp^X-Ja^g
S
3=p
^=
^
m=l IS
?z=
i
mftf^^te ip^
^S^gEÊE^
4.
h F^ S
B.
=p=
fe
-^
jV^,b~^,
33=3
r
*fce
|!E
:(*
:a=
53
fe^g^Ê^
4.
_,S>._|Z|
t==t
3=4=
tBate te y fefct
Sibils
4===
ESSAY ON THE FUGUE.
29!)
fr-fg=fe=j=g
3pf feffi
-. a-
1
EEfe^ fetfeJfo
3E
S&S
-g>
^
s~
*F5= 3=t
fef
A.
3fr
<aH=25=
t=^=5:
c.
^Ê^ÊÊ
B_
IE ^
-<S-
feSsSSgfe
-"ti
j
E
f o t=t
,
9P
-?=jpk
I-
^^^fe^:^^fe%fe^%gE^
- frf
|
m\
te
<
tt=
î
^ sr&
k^
g
-m-f-v
T-P
b*-r-tb
*--*
r-sk'-p
P^^^fe ggj
fee
:t=t
-(=---
t=t::
^
500
THIRD SECTION.
S23e=
=^fe S
t-t
A.
-r-*-
&&?
^^=^^^=^^=A
m
m?E
A.
%===S m&
amir
#^f
&-.
=e *-iEt
c.
f-^f
?=&&m
?--
%^m&=Ei3
&&m$3E^mm
B..
PpENEajbg
A.
^^^m
^
B.
^ûrm^t^
{
t=F
E=ms
W-
rd
-KrtkteE
E^-IEEEfe
lfei=l f *E ^Ê=Ê H==5
^
ESSAY ON THE FUGUE.
501
=t
ffllEÊ
m^=^^^^m
E&
jggggjgg
3fc
is=:
^^^=^^^5^^^
Decima acuta.
a)
-f
"-fit
^=F t=t
:
4.
^=2=F*
^^^L-D^fff
-g*
:3SE
at

c.
sâ^-^^g^^^
s^f^
c.
â^^
t3
p=t pÊpgggj^^ fepmffgg^
fe^r^
ipi
i==t
&
*=*
gî

302
THIRD SECTION.
*=a
-
ffl^pS
2C
F^vqF 3g=
W g fe^g^^Êff^^^^
m=z
s>-
lEJ^g %
fc
1=3^
B.
.
S^^S 5
C.
m.
:t=t
<2
'
"
f^fr
g*$ jEEjEg
-^
.4.
i^p3^
4.
*
S^Sto acuta.
^P^#^^j
F^
WW-
^^^f^^?^^^
zc
^^^^^^^-^fhr-^^^f
&
-fg>-
ij-r^:
ESSAY ON THE FUGUE.
303
TWELFTH CHAPTER.
Of the Canon.
The
Unison
last.
,
strictest possible Imitation is to
be used when the Canon

first
is
in the
viz
for equal voices
or in the Octave from the

the*
note to the
,
The Canon may

will
also
be manufactered in
other intervals
i.
e.
in of
the Second, Third, Fourth, Fifth, Sixth, Seventh and Ninth; but in
some
these cases
tions.
it
be found necessary
to
make
certain exceptions
and varia-
Here
is
the finest opportunity for developing the conundrums of art

like.
mathematical calculations, and the

sorts of
1
The following are the
different
Canon
The The
finite, in
which the melody closes with a complete cadence.

which begins over and over again from the
first strain,
2.
infinite,
and where the close

3.
4.
is
made,
at pleasure,
at
any point of
division.
The augmented.
The diminished. The shut canon, where the entrance

,
5.
of the parts is indicated only
by
signs
and the whole
strain Is written continuously in
one
line
without
pauses.
6.
with
i.
all -the rests
The open canon, where each part stands above the other, together required up to the point where the voices severally enter
e.
inlhe form of a partition or score.

7.
8.
The retrograding canon.
The double, four-part; the
triple,
six-part; the quadruple
eight-
part canon.
9.
The Climax; Polymorphus, (multiplex) canon which

is
in a circle,
or round;
the organisation of
indicated
by
its
name.
all
10. The arithmetical and
enigmatical canons, which, like
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

trifles
,
it
meritorious to cudgel their brains with such laborious

is
but the world
really
grown a
a
little
wiser
now
, ,
The Canon
regular a due
,
in the
tre,
Unison
for equal voices

etc.
;
is
in fact nothing but a

after the
a quattro
in
which one part enters
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.
K
THIRD SECTION.
304
NO.
1.
SKETCH OF A FINITE CANON FOR IN THE UNISON.
SOPRANO VOICES
Allegretto.
=8r
&&1rr-Tx &tt=*=&==iE^1
&smt$mm& i^S^ %Et^mm&=&&i^^mm\

3=5
m
K yl
I
f\-
'&
-*-*-
3=t
f=j=^^|=g^P^^
V.
* =j=3
iM
This
first.
is
a shut or locked canon, the third part being written
Tjfter
the
Frffi^toa^^&f^^gggg^
femrrr c J
^^BBgSg
it
(Here the second voice takes
up from
the
commencement.
^
5
;*3=t
'"*
(Entrance of the third voice, from the
commencement.)
pEJJgEBÊm
as often as the singers like
*= VP-
m-P-
&
*E^3L Z-
3=
In this kind of alternation, or response, the whole
maybe
repeated
and the
listeners will stand
it.
The parts should
^
ESSAY ON THE FUGUE
not
this
lie
305
to
too low nor too high

it
because each voice has

altered as follows
:
Sing
it.,'
To make
an open canon
must be
ferq^ÊarSsp^F^^ ^=F H=S=E==

IS**
~^=
life
(The third part as written in the sketch, because it contains the bass-cadence.
-i*-F-f-T
-tz
ri^j&
tw4s^=$m^=^.
P^ffi^l^^plgSife
q=tct=t=
g^^^^s^jy^
5
TtfTi-
fe^BÎS^^
j^ggEEfefegÊ^
=*
S
?E3
""-*&V
tr-r--
SS
gigsîigiiia %5S
g t^-*rt gfe
Beethoven, Studies.
-#feir--Pi
SEj ir^3
5=
&S
-#fcfctff:
tge
F=t P--
20
306
THIRD SECTION.
Dal segno, where the parts are united, and
after
which they keep on
alternating.
No. 2.
Andante.
CANON FOR THREE MENS' VOICES.
^B3 =f r-r==rF
f
to
rest:
m^m?=r=i=^m
tis
In
love's soft
arms'
sweet
In
mo
- ther
earth'
tis
sweet
to
rest.
feEEEfEi
(feE
sweet
to
*=*=*?*&
e
S
-1m-
3=*
to rest, the
In an - y place the
weary head
is fain
weary
rest,
sweet
to
rest.
**=
sweet
to
rest,
sweet
to
rest
fES3
=t=
head
is
fain
improved
to
rest
NB. The
and not
all
effect is greatly
b.y
the parts leading of separately
together.
SHUT.
3 :&
In
=t
arms'
=f=
tis
ê
rest
,
love's soft
sweet
to
sweet to
rest,
sweet to
rest
I
Q-^ y^=^ H =B^ =^

=
i
In
an
*
rest, the
Z&L
weary
head
m^
is
place the weary
head
is
fain to
3=p
to
rest.
-t
E
-
fain
In
mo
ther
ESSAY ON THE FUGUE.
507
B=6 *
earth 'Us
sweet
to
y~r
&fig
rest
,
SfegS
to
sweet
rest
sweet
to
rest
OPEN.
'i
^
In love's soft
fezgzrgzfa^-rf
arms
'tis
0-
rest,
^
svyeet
to
sweet to
rest, sweet to
p&
,ft3&
fe=lEÊSÎ =t=ta:
rest
I
fcr*=
head
is fain to rest,
3=t
m
the
In an -
place the weary
weary
<Pe ^
In
?r
love's
soft
f
'tis
-&-
arms
sweet
to
rest,
M&
head
is
-*-*to
&
rest
I
55
=t
In
=^
- ther
fain
mo
earth1
lis
^
sweet do
rest
,
E&
sweet
to
jfrfrz =&=?= ^=tet

-t
rest
I
In
an-y
place the weary
=t=
==
love's soft
t=t
arms
'tis
In
20*
! !
508
THIRD SECTION.
m^m
sweet
to
f~
ts-
sweet to
rest
,
hi
tz
sweet
to
rest
rest
5S
m 3ee^
head
m-s& ^P t=*
the
a?3jgff
is
is fain to rest,
weary head
fain
to
rest
#'
rtrr
,J
==
to
-f^-T
rest
SS
sweet
rest,
sweet
to
sweet
to
rest
The same proceeding may be adopted with four or more parts;
e. g.
3.
Canone
quattro voci.
Moderate.
i^=
% iE
^vW-ese
fr-Kir*
fegfe
^Fi^r^g^^giîgsi i@^
-f
trzt
g?=klt*+=$=3t.
S
3^3^
J-w--
H U
T.
gi^^^^^
SS
*=t3ofc
ssi?
gg a^ggggfesa^ tt^
ESSAY ON THE FUGUE.
305)
OPEN.
ft*
i^ eBgSâg& tfc B gga

i
*
3E
"^
Sf*i
^g^îgggiÊ5=jga
l^stefegl^Bfe^
&
'ips
:fcfc
^jîjpig
-*-fa-^-P-
*s
^333
SSI
54
gfe
S
ig
310
THIRD SECTION.
w^^mm^^m
^B^=?
s*
m^
s*
^^^^^fe^s
JU~ Cfe&
ss
Fferf&
ss
It is
more
difficult to
invent canons in the other intervals , and in doing

place the different clefs proper to the parts at
so
it is
customary either
to
the beginning of the bar, or to indicate their order by figures indicating the
distance of the intervals
,
above or below the note
at
which the part enters.

Fifth or
The following
below.
is
an example of a four - part canon in the
Octave
No. 4.
FF
^ F=^ftr^=^g^rif^=e^
;fe
^^^S
&M
Ê
e$:
î^=gfÊjpig^g
^K
fe
ESSAY ON THE FUGUE.
311
Sife
m&ZFS*
Ê&3j=^^m=e=^^g^g
Ê^ÊÊ^Ê^fE^^^
fe^ rt
-#-#-
_^
-#--
-^m
s*
fcEfag==S
BI=g^gg
SIS g^%=^sg5?=^g
^=t t=3
etc.
f*=i^gitt^fcîe s
as long as
we
will.
This would be,

follows
in the first
manner,
a shut.
canon by
setting
it
as
g^^îâtei^l^p^
which the musician
at the 2"d
will understand as follows

;
the Soprano
commences
bar the Alto comes in , as Fifth below
at the 4f h bar the Tenor,
in the lower octave of the Soprano;
and
at last the
Bass enters at the 5th

512
THIRD SECTION.
bar, as the Fifth below the preceding part, or Octave below the Alto.
Aceqrding
to the
second form' of composition the canon would stand thus
E$E
The
below.
feEEaÊg^s^ ^|
#v=fe
=f
figures indicate (5) the entrance of the Alto in the Fifth
below;
(8) that of
the
Tenor
in
the Octave below;
(12) the Bass in the Twelfth

:
'
No.
5.
A SIMILAR EXAMPLE.
**ê
3*t
U-a
m-^FT- *-0-a
--
Third below.
f^^jJlg
S5t=*3E=3=3
ftx.
=E5=*
A**-
mm
~ JLjL
Second below.
SSfcg ^g^f^^gjS
Fourth below.
SSf^Sfig
f!~
^
!-
|pE^3igJ3E
gga-i -#*-
-<
pi^^ aa=jg:
3=^^
.ESSAY
NO.
6.
ON THE FUGUE.
515
CHROMATIC CANON.
ptE3ffl[E%=&
^3==^gm^:
~&-
%
^
is
--
OT^^Ê
m^M^^=%^
^m m
..
s
more mystical
;
XI-
& ^^
clef!
till
The enigmatic Canon

a sort of problem to
,
is^
yet
it
is
generally written
without sings, figures, or letters,
and sometimes even without

at,
This
be worked out, or rather guessed
a lucky
hit discovers the clue
and the correct answers come out
in
pure harmony.
The leading thought must be transposed

below
,
into all the intervals

;
above and
by inversion and contrary motion

;
with a sprinkling of rests and

;
breathing points
retrograding and
by
of,
the mversio cwnwizems
augmented
and diminished,; even the obsolete

(or high, Bass) are to*be
clefs of the
Mezzo-Soprano and Baritone

Gordian knot, which
of
made use
to untie the
unfortunately cannot be cut in the easy
manner adopted by Alexander
And what is the advantage of all this? much cry and little wool! Perhaps I may some. fine day attempt it myself, when I happen to Just now thank God I am more sensibly have nothing better to do
Macedon.
;
employed
and hope
it
will
be a Jong while before
waste an hfiur in such
profitless endeavours.
FRAGMENTS.
Hints for vocal composition.
High
soprano,
z== ^_|__^-rf- E= i-i-i

ii
,
^^^^
1
RANGE OF THE VOICES.
very rare.
" M=r-TH-t
in
TutU only to
or at most B.
Mezzosoprano
:
3^5
i^jpaigtiil
in TutU only to 6.*)
Alto:
TTT^TT^
first
^^^
The
three tones -are scarcely audible in TutU.
Tenor
The three
last
tones are falsetto**}.
Baritone or high Bass.
Deep Bass
gq^ s^^ a^jj^j: JJip^^p^g^^^

s
~zi
*)
**)
A good standing Not always.
rule,
but not without exceptions.
P.
P.
FRAGMENTS.
It is
315
upon very low or high
middle region.
difficult
is
to
pronounce words
distinctly
notes
the voice
most powerful and
effective in the
The Soprano has commonly three two octaves.
different registers in the
compass of
The
first
contains four chest-tones (voce di petto).
from C
flpEE*
In the second
,
=*
to
F.
making nine tones,

the voice changes.
The high G The
is
produced
in the
upper part of the thorax.
third register above the
"I
frnm from B
- "
tr\
to
P F
etc.
consists of head-notes
{voce di testa)
after
which the voice

it
is
formed
in
the cavities of the forehead and nose; in this region

limits.
has scarcely any
Some- female singers can reach the octave

of the
to the highest C.
to G,
The chest-tones
Tenor voice extend from C
fE
the higher are
X
displayed in the skilful blending of
is
head- and
falsett-tones.
is
The
one
art
and sciense of the singer

so that the
register with another,
change
hardly perceptible.
OF THE RECITATIVE.
This should be declaimed as
in music, but not in strict time;
if it
were spoken.
slower,
It is,
in fact, a
speech
now
now
quicker, according as
the expression of the words

full
may
require.
The comma, colon, semicolon,
stop, sign of interrogation or admiration,

;
demands a peculiar kind
of
division or rest
e. g.
ÊE^$^^^^^^^MS^
Comma
5fc
2z:
Excepting where the sense demands that
the
no
rest should
be
allotted
to
comma.
'
516
FRAGMENTS.
Ê%E3E$Efm=$=?=lF*=*4
Colon
MP
The
full
^
same expression, when
of.
stop requires the
the period
If
is
closed,
but the same subject yet contuines to be spoken

subject of discourse be started
is to
,
an entirely
new
the phrase indicating a close (or conclusion)
be adopted
e. g.
4=
In the time of
Fux
:
&E&
*
3:
#;
the close ran thus
p i
A
question
-0
to
is
be expressed'
in
various
ways
according to
the
meaning of the
text
l'
m
An
exclamation or expression of astonishment
S
m^
No
expressed.
==
'=tztzz&4zz{=fz
E
is
discord should be resolved until th& meaning of the words
fully
Long notes may be used
for tranquil sentiments
short ones
for agitation
and violent passion.

k
SPECIMENS OF GOOD RECITATIVE.
= ii^feS=gppg=g
He turns his face divine to him, the wretched
felon,
*$&&&
whose a-go-nies he
S=S=B=
pi
ties
,
com-for-ting his
soul.
FRAGMENTS.
317
Instead of:
9tz^| gE
For-sa-ken.
write
P^^fe
For-sa'-ken.
g^B-^^^^jfe^^^Bifeg
Dis-pera-ta Porzia
al
ve
der spirar
lo
spo-so
a pas-so
len-to
lo
fe^ 3$
segue
-B>"
$g^Fpg^^^^^gyg=^
fin all'
re-na
non sa-zia
di
la-gri-mar vuol
con, sospi-ri
an-
mw
co
-
M
dlpc
V*
k ^Ê^Êrt^m^Ê=E=^m
fet
ra
in- ghiottir
di
do
lor
car -bo
- ni
arden
ti
(n
terrom-
S K
?rfc
i>e-do
-fe
ZÊfefeEE
swe lab-bra
feP=*=
ac-cen-H.
*=^ti
cdh
tiii
f* SE
The following are bad phrases
i3g
B==^
fcttf
of recitative
sgsgite^^^^^SBsES:
*=*:
^^SîSi^Siî
518
Short hurried sentences
FRAGMENTS.
^S
De-il
-9
tu
t--&zb==t: m
P-
&
sog-no?
son
me di-fen-di?
de-sto?
Harmonies
b
to express
sadness and lamentation

\>e
^ ^
And,
J_
a=
b6
tJEpÊ^^ffl
3C
similarly, the modulations taken in the contrary direction:
L 6
bs
%E
The
rise
~*=
&c=fc
c=
W
/
A.
&i*
by
the increase or
and
fall
:
of the voice should be regulated

e. g.
decrease of emotion
SeIeeIeêe-^J^
Apollo,
Amante
di
Ma
cie - to
che veg
go
Dafne.
m^m^sa^z
=
mani;
b
'gEEEpEEEE^ÊppÊ^gÊÊÊfegE^
mat?
frondo-se di
vengon
b'
le
tue
doi-ie
membra
*=B JS
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
1= p=p=
SEHiiii^
o
di -spie - ta - tal
lu-di,
T=^m--
*=l
B^Bagfe^^^m
Caro Unulfo, guida mi a
lei,
Expression of wonderment and delight
sapra, che son
vi-vo, seinMilan ve-de-
îz^:
fe==i
Efe
V=Pram-mi
fiiE^^b^
qual con -ten -to!
P^
A
ny;
striking effect is
produced by the voice
falling
along with, the harmo-
e. g.
=te
=p
Ah,
my Em-ma -nu-el!
g^^^^^^S
Re-deem-erl
low he
lies,
de-jec-ted,
3=fc
P=P=
^g^^
sorrows,
be
full
I Ba:
of
s
an-guish, yet
Ije
^^ÊfejSf
re-sign'd!
stringgling wilh his
6_
fe
*:
gE
M
5sd
Tot, cftemsps'rate
femfeBÊfiE^^fcfclig _ *
i
ca-stiaffet-ti al-le nostr' alme,voi,che alpu-di-co
Ime-
.*&
Efe
520
FRAGMENTS.
teg=|Ep
ne-o
^Ê|E^Êâ=^g
di-fen-de-te la,
o
fo-ste presen-ti,
nu-mil
tS
The expression
is
^
rescued
zrjsc:
-x
;
rendered more forcible by repeating the words
e. g.
g^fe^^Ê^gEEfEJEfe^-fe^fe@
He
from death the gent
- le
girl,
with love's al-migh-ty
fe*
power,
S
I
fc==FgJLQ gEJgfjJEES
by
yonder heav'n
swear, with1ove'sa!-migh-ty
power
^zr==tz\=\ fr-l
I
:-*
X
alteration of the words)*)
think, (with
some
the passage might- b$
improved
in the following
manner
m^m^.
t-=fel!
,,
=&z
fr-f-*
E^S
'twas love's ora 7 ni-jpotence, by yonder heav'n lswear,'twas love's om-nipotence
*-= =t
sp
E
fefc
^ ^Ê^^ga^^lT^
Sposo,i;
figKo,
iS^g
^^g^PpBiîgEi
ma-id
de
ihi&i
CONTRASTING EMOTIONS. T te-bV-ki sos-pi-ril
rV
.
Griiho-ahdo *eru- dell
zfe
confes - sar-ti-
gppg
^c
=P
(cheso?)
iis'
chiederti- (o Diol)
cheangosciaequestal
Ei
*)
in english)
The same words are retained in the German version (which was not possible and the improvement consists merely in a more correct accentuation 'of
P.
the syllables.

FRAGMENTS.
52
* =^ ^^==^=^=^=^
m.
t'i
*^_
5=fefe JEfcEfi=EEgEii
to
S(l
eri -
fi
- zio
con-
S
sor-te
W
=r=
^ ^^gÊÊ^^âB| fefe
(o leg-gel)
o
spo-sa!
sa-cri-fi-ziol
oh sor-tel
be
IV tefc
*
close
is
Vsc
Jb
full
made by means
of the bass-cadence
JLi. JM^rf JUJL î^gMl^^feFl
S=l
^
n?
Let
--t
^=f^^
rrr V V Vnow em -brace
thee
--t-
Close of one period , at the same time anticipating the next
thy brother
^
:
Also by the use of half cadences
e. g.
rf^=sq& yf 4H
^tis
jjv- -p
well
m
I
Thou know'st him not?
thy ho-ly will be done

it
fetea E%EEEEEJgg
ffi
Beethoven, Studies.
21
522
FRAGMENTS.
^=i^feg^^^
Con-sol'd he
ri - ses
up, strengthened
by gracious whispers
of
PEE
~J*
L
te
^^Êjg^^Ê^gEfej
an
- gels
thro' the twi-light
air
and
lo
his
foil'
wers are with
~s eTP
us
g=g=S^gfe^^^^|^^^^^
hea - vy sleep op-prest, they
lie
up - on the
grass,
and
saflly
dream
of
=st
3
SEL*
mer
-
fe**
pe rils
;
3Ê
he
looks with
cy
:t
Half-cadences to express rising emotions
:
te
*
fea-
ttet
feig
tt
5
1,
g^^p^wâp^^pg
Closes like the following
To express a decrease of passion
E3E0P
And
others
are sung
in this
way
*E$=E$^=Z
h-
upon
ta
4'ffr*nft syllables,
s^^^^â:
*"*
fe=s=&Ei^l
FRAGMENTS
325
:
^
,,
Phrases to express interrogation

or
.
J -fc
'
t- J
ft
h -h ^J,
.1
Minor.
or. *
_*_
m2_*L
or.
^?
5^
eES^Steate*
is that
^ im
is
Mes-si-ah?
is
that Mes-si-ah?
that Mes-si-ah?
.'
ig
s
am
I
fe
=$=
w
9t
ggg^^^^^^g^g
his
Friend?
it
am
his Friend?
am
e
for-sa-ken?
it
,i
-pr-
zpc
-3
or
I ifeggEfe-SEê ja^;^
What form
is
that, so
faint
and
pe
b',
- rish-ing?
What
b
form
is
9^^
._..
dafc
?c-
S^^l^S
that,
b
so
faint
and
peb"
rish-ing?
P3:
the accent
verb.
Se
to the
The word most important
sense must be accented the strongest;

,
may
fall
upon a substantive
verb,
pronoun,
adjective,
or ad-
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
to,
ger-ma-na, a, a-mi-co,
oh
Diol
b?
tanti ta/nti
be-niinur, be-ni in un-dil

b
_
*=
=t
'Tis
eeS=S5^^|
that
fol
oa-ly
one
lowsaf-ter
Je - sus -pz-
but sad
and
S^^gS
si -
~m
^ mmf^^^s^m^^m^
lent - ly
he
goes.
Jl
Sogtio ?
6
non desta
i>.
oft
De7
qual freddo
ge-lo
ri-cercan-do mi
s
i><i
=&%e$e$ee
di
J=fegEÊ
Oh
I
ue - a jm ue - a
Ga- ri-bal-do,
in
I=H|1P^=E3S ^^
che far deg _
g'i
g^^P^g^M^tefef^Fi
questo caso estremo
-o
b?
Ven-di-car-ti!
,
J
To compose a good
the composer requiring
to
recitative
Jl-
ft
E^=f
is
*
it.;
*)
it
advisable to declaim the poetry
first,,
without music , as a clever and intelligent actor would do

it, I
and in case of
should advise him to ask
how
the passage ought
be
*)
justly accented**).
words from
These examples are taken from old italian operas and German oratorios; the the latter I have thought it best to translate. P. **) No good composer will ever be in doubt upon such a point. P.
FRAGMENTS.
Andante
for
528
(a Torso or Fragment.)
two
violins
and
violoncello,
^^^^s^^ste^s
feE
E^%EJ^gJgÊgl
5lsa
:^t
:#-*
feS
E=S=p;
*=fc
i#n
SeSSS ^=
B^^gfe^g^ ^â^îsiiîgg^ m -^ fe^^^^^^B

Allegro for the
Sgg|^pl^SiîP
same instruments.
(Overture
by
G. F. Handel.
K& s^=i -,-J-^
J:
l
6
-t
*=qrt
2% HHi
Z
7
P^=B^ f^g^lSg^Ppi
j
7
Eî
*-
t5*
i==S
526
FRAGMENTS.
i
=^Me ^r
s=
-
-^^H"-
ffiE
7
7 7
^^
*#-#'
-=S
5=1=
^f-t F
=e3====l!f -*SH*^sESE*gj*i fag
'^-^
^
^=i
^^pg=g^Ê=g
^^^^g ^ ^S
i^p
3tz
^î
ra*t
ff
95S
i^gpiFlgpîlP
^
FRAGMENTS.
327
I^
^3
1_
^^1
:
*
*
*d-*-*
P^H
1^^=^=^ L^b
Hi
Pjg^^^^^^gîgs # BÊ2 gjjgl feîfc I

SlIlIP&*
*=t
m
^*
"h^l*-
*=r
Cfc=t
*+
m
I
^m
f^m-^P
ia
I'M
EE3 3^-= ^^
p
# t
S
i
^#-
g^g^^^P^
^fefcfeli#-f
=R^
S^^g^ gpgEffFF^lE^
7
5 &3= lg^=^lîaS B= ^ puis^
E^feS
7
Tasto solo.
-&-
328
FRAGMENTS.
k-ej tf
a^
--=
&
|=gpilpjPBg
f^g
g
*
^Tfrr-^rz
?&S I^S
s fa^_urtj
bTtÊ If fefeESEiE^^^ g^
*=F=!fe
w K^
"
APPENDIX.
BIOGRAPHICAL NOTICES.
(Translated from the
German
of
I.
v. Setfried.)
Ludwig van Beethoven was born the 17.
of
December 1770
*)
al
Bonn,
where
his father
was
a tenor-singer in the Electoral chapel.

,
The boy disso that his
played at a very early age a strong passion for music

observant father thought
it
so
much
,
right to teach
;
him
,
the elements of the art at the

in a short time
commencement
of his fifth year
but finding
that his
own
knowledge was not

Herr van der Eden
sufficient for a
genius whose progress was unusually
rapid, Beethoven's father resigned the office of tuition to the Court-organist

,
who was
considered at that time the most accomplished
pianist in Bonn. After this master's death

(the successor of
Ludwig became the pupil of Neefe

for his trouble
van der Eden)
who was remunerated
by
the
-
Archduke Maximilian of Austria, the then Elector

ceptor
tier
of Cologne.
This wise'pre for the lof-
made
his zealous pupil,

,
who
already
shewed a preference
I.
styles of composition
acquainted with the works of

life,
Sebastian Bach,
which continued throughout Beethoven's
to
be his especial favourites, as
also those of the immortal Handel**). Whilst the gifted
boy,
'
at the
age of
eleven years,
now
played the well-tempered harpsichord' with astonishing
execution and taste , he
made
his first attempts at original composition

,
and
produced variations on the theme of a march

ral songs,
three Solo-Sonatas, and sevefield
which were published

of his genius
his
at
Speyer and Mannheim. The peculiar

that of improvisation
(of
for the display
was, however,
working out
a
on the
pianoforte
and
power
of
given subject
which Gerber
speaks in his
Lexicon of musicians) greatly astonished the learned composer
Junker, before
whom Beethoven
once played. Beethoven being now,
tho'
*)
Ludwig van Beethoven used

Beethoven spoke,
to
name
the 16. of
December 1772
of
as his birth-
day, but this appears to have been an error.

**)
however,
much more
reverentially
Handel than
of Bach.
4
quite a youth
,
capable of handling the organ with considerable
skill
,
he was
title
appointed (by the Archduke) successor to Neefe, and received the

Court-organist , together with the permission to
of
make a prolonged stay at
Vienna, free of
all
expense, in order to profit by the instructions of the cele-
brated Joseph Haydn. This great master being, however, invited to conduct
the performance of his
own works
in
England, he entrusted Beethoven to

into the
the care of the learned theorist Albrechtsbebgeb, then director of the music
at the
Cathedral of Vienna, and
by him Beethoven was
first initiated
mysteries of counterpoint*).
The earnest
is
attention
which Beethoven paid
to his master's instructions
incontrovertibly proved
by the Studies here given

his readers that this
to the
world
and the
editor cannot but
remind
volume contains only the tenth
part of the Manuscript
which was found among Beethoven's posthumous
papers; there being often as
many
as 50 or 60 examples
appended to'each
theoretical subject, the publication of

It is
which would have been superfluous.
scarcely necessary to observe that Beethoven's original ast of

reject or ridicule
mind
made him
school
;
many
of the rules and wise saws of the old

,
and
his sarcastic marginal notes
which are well worthy of perusal; most
are quite in character with the habit he always retained of clothing his
secret thoughts in words.
Beethoven had acquired no small reputation, as a composer, and was

regarded in Vienna as a pianist of the highest order,
when
the famous, al-
though
now
forgotten
Woelfl appeared
rival
;
(at
the close of the last century)

this case attained
at Paris**).
and became Beethoven's
indeed the party-feeling in
almost as great a height as in the case of Gluck and Piccini
The
amiable prince Lichnowsky was the most distinguished of Beethoven's adherents

,
and the accomplished Baron Raymtjnd
von.
Wetzlar
the most zealous
*) Beethoven made a short stay at Vienna, in the year 1790 whither he had gone for the sake of hearing Mozart, to whom he had letters of introduction. Beethoven improvised before Mozart, who listened with some indifference, believing it to be a piece learned by heart. Beethoven then demanded with his charac, ,
teristic ambition', a
given theme to
work out; Mozart, with

in
a sceptical smile, gave
him
at
once a chromatic motivo
for a fugue,
which
al rovesoio, the
,
countersub-
ject for a
double fugue lay concealed. Beethoven was not intimidated
and worked
out the subject, the secret intention of which he immediately perceived, at great length and with such remarkable originality and power that Mozart's attention was
rivetted,
and
his
wonder
so excited that he stepped softly into the adjoining

,
room
:
where some
,,
friends were assembled
Don't lose sight of this

**)
and whispered to them with sparkling eyes young man, he will one day tell you some things that
in
will surprize
you !" Or of Handel and Buononcini
London.
patron of
S
villa,
Woelfl:
the. latter
,
possessed a delightful
all
rear the royal
palace of Schonbrunn
where he entertained
the native and foreign musi-
cal artists of merit with a truly english?) hospitality.

to
The
rival pianists
used
meet here and enchant the company with

to
their skill
and
talent,
Woelfl
being by no means unable

improvisator:
these
cope with Beethoven as an executant and

gladiators
two
artistical
let
wrestled
with
each other,
all
though without animosity, and

of capriccios
their imagination
,
run wild, in
,
manner
and vagaries of fancy
sometimes playing duets
sometimes
working out themes which they had mutually proposed, and

that
if
that so finely
they could have been written
down
they might have belonged to those
works which posterity does not willingly let die." As far as mechanical dexterity went it would have been scarcely possible to decide which ought
to
hear away the palm
nature had given
Woeifl
the advantage of a large

,
hand,., with
which he played tenths with perfect ease

already
and which enabled

Beethoven's
him
to
make
sport of the most difficult chromatic passages.
improvisation
gave tokens of that dark and mysterious colouring

his
which afterwards so strongly characterised

over a kingdom of his
works
at the
he was
lost in the
;
realm of thought, and forgot time and place when
instrument
he ruled
own
and compelled the
spirits to
obey him. Somer-
times he would strike the keys with such force as to break
string or two,
fancying he had an orchestra under his fingers
then he would sink back,
and
fall
into a
fit
of melancholy.
Every shade of feeling was expressed by

inclined
him with equal mastery, but he

strains
,
more
to
pensive than to joyous
and
his playing
was
less easily
understood and appreciated than that
of
Woelfl, who was bred

,
in the school of Mozart
ever
clear, equable,
and
but
flowing
without flatness or poverty of invention , Art was to him only the
means
to a certain
end, not used
for the display of pedantic learning
for the delighting of his audience,
ged and perspicuous

stand
this.
ideas.
who Those who

listener
could always follow his well-arran-
have heard Hummel play will under-
The unprejudiced
found a peculiar pleasure in quietly

,
observing the two noble friends of the musicians
who
rivalled each other in
the attentions and delicate courtesies which they lavished

ites **)
,
upon
their favour-
and
in
witnessing the
full
measure of praise and
intelligent
appre-
ciation of their efforts
which both
artists
were sure
to obtain.
,
There was no envy or jealousy between them

for the
nor did they care
much
panegyrics of their patrons, because they respected each other's
*)
Literally translated.
yourselves wonderfully condescending
Ye english Lords and Ladies, -who patronize musical artists, and think if you give them a place at the second table, read this and profit by the example. p.
**)
,
;
powers , and guaged them more accurately than others could

the generous belief (which
,
and both held

that the
alas
all
is
not universal
among musicians !)
world
is
wide enough
for
who run
the fiery race of artistic competition,
with the temple of
Fame
for the goal.
Meanwhile the German empire was disturbed by war, and the death of
Beethoven's exalted patron, the Elector, had destroyed his hopes of obtaining a higher appointment in his native city;
but as he had hitherto been
well remunerated both as pianist and composer, he chose Vienna for his
permanent residence
the
more so on account
of his
two younger brothers

in the
who had
his
followed him thither, and

affairs
,
who
assisted
him
management
of
household
At
this
of
which Beethoven was
totally incapable.
period he began to compose Quartetts, and succeeded even in
his earliest attempts: he

for
to
was fond
it,
of this style of music,
and
it
was
natural
him
to give his
it,
mind to
have created
its
whose genius may be said and Mozart, whose comprehensive imagination had enseeing that Haydn,
it
larged
boundaries and given

at
new
it
dignity,
were
his contemporaries,
still
and
both resident
Vienna.
it,
Beethoven
and bore
carried the Quartett

aloft to a
farther;
be
deepened and widened
height which has not hitherto
been reached by any other composer.
He enjoyed
private,
peculiar advantages in his friendship
with the masterly
executants Schuppanzigh, Weiss, and Linke,
members
Of Prince Rastjmowsky's
to
band. To these
skilful players
Beethoven used
and
shew
them
his Quartetthis ideas re-
compositions as soon as completed,

garding the lights
fully explain to
and shades of expression which he desired in the perforthe Quartetts

,
mance by
;
this
means
were rendered with an

feeling
insight into their

it
spirit
a unity of purpose
and a truth Of
which made
common
for
it
saying at Vienna, if you wish to hear Beethoven's
chamber -music
stringed-instruments really performed, and desire to comprehend
and
know
its
beauties, you
must hear
craft are
it
played by those artists." This was' the

still,
opinion of competent judges, and every one says
alas, so
it
was!"
For these masters of the
now no
more.
The
opened
to
instructive intercourse
which Beethoven had with Salieri having

,
him many of the
secrets ot dramatic Composition
he no longer
to
refused to comply with the frequent requests that were
made
him
to
write
an Opera.
Herr Sonnleithner undertook (he
libretto,
which he arranged
Leonore or FideHo.
after the french
drama L'amour conjugal," and

to
entitled
Beethoven promised
theatre
compose the music

in
for the operatic
company
to
of the
gratis
an der Wien,"
which apartments were assigned

in earnest,
him
and where he At
now
set to
work
and with much gusto.

the editor of
this time
commenced Beethoven's acquaintance with
these papers
,
7
friendship.
which afterwards ripened

roof,
into a
warm
I
We
lived
under the same
dined together, and although
had long acknowledged

in
the lofty claims of this great Poet of

first
Sound
and seen
him a
star of the
magnitude, his childlike disposition, purity of mind, and profound good-
ness of heart were to
me
a continual source of fresh enjoyment. All the

in the short space of
works
that his
unwearied genius produced
two years
the wonderful ,,Leonore," the Oratorio Christ the Violin-concerto, the
upon the mount
of olives,"
Sinfonia eroica and pastorale,
also that in
C-mipor, the Pianoforte-concertos in G,
E
I
(?,
and C-minor
all
of
which he
these im-
composed
for
performance
at concerts for his
own
benefit
and which were
played by the excellent orchestra which

mortal works
I
then conducted ,
first to
all
was
fortunate
enough
to
be the
first
hear and admire. The
Fideô,"
now
so widely celebrated,
was
produced under very unfa-
vourable auspices. Not only were the parts entrusted to vocalists
who were
unequal
to the task,
but the gradual approach of the war to Vienna had
already distracted the attention of the public. For the performance in the
theatre at Prague
is
Beethoven wrote
new and
leSs difficult Overture
which
by M. Haslinger. In course of the following year the Opera of Fidelio was chosen by the regisseurs of the Carinthian-gate theatre for their benefit; the work was then re-cast in its present form and reduced to two acts whereto was superadded the fine overture in E-major which however was not completely copied out the first evening, and was therefore not pkyed; the Overture to the Ruins
published in Score and orchestral parts
,
:
now
of Athens," in
G-major
being substituted for
it.
Beethoven
of Rocco,
also
composed,
for this representation, the
march
in [7, the
Song
and the Finale
of the first act,

zetto in
which did not previously

C-major
exist;
an extremely melodious Ter-
J7
and a charming Duettino

(in
,
for
Soprano voices with Violin and
Violoncello
obligati
time)
were rejected by him, and are

accept the office of operatic
offered to
unfortunately not to be found in the original Score.
In the year 1809 Beethoven determined
to
conductor
at
the Court- theatre in Cassel,
which was then

life to
him;
preferring the prospect of a sure provision for

of remuneration for his works,
the precarious chances

at Vienna.
this
which was
,
all
he could reckon upon

for
In order to prevent his departure
and recompense him
gh ing up
appointment
miitz)
the Archduke Rudolph (afterwards Cardinal- Archbishop of 01-
and the Princes Lobkowitz and Kinskt, made Beethoven the generous
an annual pension of
1
offer of
50 *)
the
document
in
which the joint
offer
*)
was equivalent
This sura, viewed in proportion to the cheapness of Vienna at that time, to 500 in England.
8
was made
This
to
him being couched
in the
most respectful and
flattering terms.
sum was
secured to him until he should either receive an appointment
of equal value (that of Cassel being of inferior value) or, should this not occur, until his death
;
the only condition annexed being that of his continuing
to reside in the Austrian dominions.
Beethoven;, touched by these proofs of appreciation and regard, resol-
ved
to
remain
at
Vienna
-^-
fast-bound with the flowery fetters of gratitude.
He remained,
to the great
joy of his friends and admirers, and laboured
unceasingly to build up the temple of his
own
immortality, until the angel of

,
death carried him away to the

us,
ful
unknown
land of purest harmonies

;
and
left
who
loved him so well

at
churchyard
his honoured ashes Waehring, whither no one makes a pilgrimage without

,
they
rest in our
peace-
bedewing with
his tears the
sod under which the great magician
.sleeps.
Who
home
can regard that sacred spot without feelings which make him 'return
a better and a wiser
!
man?
But who,
alas,
can see
it
without lamenting
our heavy loss
Many were
received; a medal
torle,. together
the
marks of high consideration which Beethoven

struck in honour of
now
was
him
at Paris, a fine
grand-piano-
with the splendid edition of Handel's complete works, then

;
so rare
gift
to
were presented to him by friends in London the latter valuable, was sent by Herr Stum?p, and was a source of the greatest enjoyment Beethoven during the last few years of his life.
,
He was also presented with the freedom of the made honorary member of the royal Swedish Academy
the Society of Musicians at Vienna, etc. etc. But
all
city of
Vienna
and
of
of Music, as also
these honours could not

viz: the loss of his
compensate for the misfortune
that
now
fell
upon him,
hearing, so painful a loss for the musician. The disease of the ear which
caused his deafness developed
itself,
indeed, very gradually, but refused,

it
,
from the very
first
to yield to
any means adopted against

,
and
at length
ended
in a total deprivation of hearing
which rendered
oral
communication
with him impossible.
The unavoidable consequence of

from
society-,
this
was
that
Beethoven withdrew
and sought refuge in solitude; he became shy and suspicious,

to
his natural
tendency
melancholy increased
-to
hypochondria, and his temin reading,
per grew
sing
,
irritable
and uncertain. His only pleasures lay

,
and taking walks into the country
of
which
latter recreation
compohe was
remarkably fond.
small circle of faithful friends formed his only society.

to suffer
By degrees he began
nent
from other physical

to
evils,
which compelled the
once so robust and healthy man

clinical Professor,
left
seek medical
aid.
Dr.
Wawruch an emi,
nothing untried which. could alleviate the suffer-
ings of his honoured patient; but there
for
9
of a
was no hope
permanent cure,
,
symptoms
of dropsy on the chest soon declared themselves
and
this
disorder advanced with rapid strides
he underwent repeated
operations, but
each time with diminished
effect,
while his strength was alarmingly reduced.
He
a
died at 6 p. m. on the' 26. of March 1827.

last will
In his
he made his nephew Carl van Beethoven he was much attached, and
his only heir,
young man
to
as his son
but
whom
whom
,
he had adopted
whose conduct did not repay

at all
the affection lavished
upon
him.
Beethoven was not
fond of giving instruction
and acknow-
ledged none as his pupils except his nephew, the Archduke Rudolph, and the
talented Ferdinand Ries.
Beethoven was by no means

ed
in
narrow circumstances, having

c.)
left
behind him the sum of 9000 Florins *) (Austrian

,
which, as before mention,
was
inherited
by
his
nephew. His compositions
especially during the
later
years of his
derable sums for
were well remunerated, and he received very consithe copyright of his Symphonies, Quartetts, etc. from the
life,
publishers Steiner and Comp., Messieurs Schott in Mayence, Schlesinger,
and
others.
Moreover
he sent copies of
his
second Mass (before publication)

in the aggre-
to several of the
European potentates, and received from them,

for the
gate,
between 600 and 700 ducats
same.
well
highly Beethoven was esteemed and honoured**) at Vienna is known; Prague, Berlin, and Breslau, as well as other large cities of Germany, paid him the highest honours after his death, and it may truly be
that
How
said
the whole of the civilized world
mourned
his decease.
Solemn
Masses (Mozart's and Cherubim's Requiem) were performed in the churches

of St. Augustin and
St.
Carlo at Vienna on the day of his funeral, and a grand

in his
;
concert
was soon afterwards given
memory,
the
at
which none but Beet-
hoven's compositions were performed

erection of his
receipts
were devoted
to the
monument
which
in the churchyard of
is
Waehring.
The
article,
is
here reprinted, concerning Beethoven's funeral
obsequies,
well authenticated, and was written by an eye-witness.

singularly
Beethoven was unmarried, and

to
enough,
is
believed never
have been
in love***).
The chief
characteristics of his personal appear-
ance are correctly given
in mos't of his portraits f)
he
was
rather
below
*) About 890 without including the 100 presented monic Society in London, and which were found untouched **) Longo post tempore
, !
to
him by the Philhar-
after his death.
***) This
+)
is
is
an error.
The
portrait
by Kriehuber
faithful
of Vienna, forming the frontispiece to this volume, P.
considered the most

Beelhovon, Studies.
(because not idealized) likeness extant.
22
10
TRAITS OF CHARACTER AND ANECDOTES.

,
the middle height, strongly built, and enjoyed robust health
in spite of his
peculiar habits, until within a few years of his death.

(From the German
of Seyfried, with additions, derived from private sources,
by the
Translator.)
Beethoven always spent the summer months

he was accustomed
and the richest
to write
in
in the country,
where
comfort
the
open
air
with
the
greatest
results.
He once took a lodging
in the romantic village of
Modling, that he might enjoy, to his heart's content, the Switzerland of
Lower
Austria, the lovely Briel.
luggage-waggon with four horses was
freighted, with a very small proportion of furniture certainly, but
on the other
hand with an immense mass

put slowly in motion
,
of musical matters.
of
its
and the proprietor
The towering machine was treasures marched before it

Scarcely
per pedes Apostolorum in the most perfect contentment of mind.
was he out
in extasy the
of the city
between
green
cornfields
undulated by the
it
zephyrs's breath, with the song of the lark thrilling above him, as
greeted
advance of spring
than
his creative spirit
awoke. Ideas jostled

.
each other, were selected, arranged, noted
down with
;
the pencil
and
the
journey and
the
its
object
were clean
forgotten.
The gods only know where

but
at length
,
Composer had wandered

at his
in the long interim

,
about twilight
he arrived
chosen Tusculum
perspiring at every pore
covered with
dust, hungry, thirsty, and dead-tired.
Heaven help us
what a spectacle
awaited him
The waggoner had accomplished

however,
his snail's progress without
adventure
for his employer,

in
who had
already paid him, he waited

eccentricistable
two hours
ties
,
vain.
Totally unacquainted with the Composer's
and having
settled that the horses

it,
must sleep
his
in their
own
he made short work of

place,
shot
down
fit
entire
freight into the
market
at first
and returned home without farther delay. Beethoven was

then he burst into a
of laughter,
,
very angry,
and
at
length having
to do,
hired half a dozen of the gaping boys in the street
he had enough
before the hour of midnight
was
called
by
the watch,
and fortunately favored and de-
by Luna's beams
posit
to
collect the scattered elements of his property
them under
a safe shelter.
When
the
Composer brought out

,
his Fantasia for the

at the
first
time with
,
an Orchestra and Chorus , he directed
usual hasty rehearsal
that the
second variation should be played through. In the evening, however, completely

absorbed
the
in his
1i
own
creations, he forgot the order he
had given, and repeated

a combination
first part,
while the Orchestra accompanied the

effect.
last,
which
a
little
did not
by any means produce a good Composer began

at his to
At
last,
when
it
was
too late, the

in
smell a rat, suddenly stopped, looked
up
amazement
bewildered band, and said dryly ,,Over again;" the
Leader, Anton Wbanitzky, unwillingly asked wilh the repeat?" ,,Yes" was
echoed back, and

to a certain
this
time things reached a happy conclusion.

,
That he had
this
degree affronted these excellent musicians
by
it
irregular
to
proceeding
he would not
at first
allow
he contended
that
was a duty
repair any previous error, and that the public had a right to expect a perfect
performance
for (heir
money. Nevertheless he readily begged pardon

and to lay
the blame
of
his Orchestra for the unintentional offence,

self to
and was generous enough himall
spread the story abroad
upon
his
own
abstraction.
The more
his
want of hearing, and
(in his
latter years) his increasing
derangement of bodily health, got the upper hand, the oftener did every fresh
symptom bring with

begin
to
it
the
martyrdom
of hypocondriasis.
Then would he
its
complain of the deception and treachery of the world, of

,
wicked-
ness , falsehood
and suspicion and
he would exclaim
that there
were no longer
and
any
intelligent beings to
,
be met with, and in short he saw everything in the

at length
darkest possible hue

faithful
he even distrusted
his long-tried
honsekeeper. Suddenly he took the resolution of becoming indepenthis strange idea

,
dent , and
like all
others
was no sooner formed than
it
was
*
carried into execution.

to
bought, and set himself

eatables.
He went himself to market, chose, bargained and work to prepare, with his own hands his own
,
Thus he went on
the subject, he
in
for
some time
and as the few friends
whom
he
would
still
endure in his neighbourhood made strong remonstrances with
him on
became very indignant, and

The guests did not
invited
them
to dine
the next day
order that they might
see the proofs of his proficiency

fail
,
in the noble art of Cookery.
in expectation of
what
their
would happen,
to arrive punctually at the time appointed.
They found
the stove.
host in a dressing-gown,
his
head covered with a
stately
at
night-cap,, his
waist girdled with a cook's blue apron, and fully occupied

After
an hour
ajid a half s trial of patience
during which the imperious

lively
chit-
demands
which
of
hunger could
with^ difficulty
served.
be kept down by
chat, dinner
is
was
at length
The soup reminded one
charitably dispensed as such

,
of the refuse
at
hotels
the beef
;
was
scarcely
wanned through
and
fit
only for the digestion of an ostrich
the vegetables
12

in a reservoir of
swam
lukewarm water and grease, and

,
Ijififroast m-eat wa1j|

failetl
burnt to a cinder. Nevertheless
the master of the feast

dish,
not heartily-tb
recommence
the attack
upon every
and endeavoured td.animate'his re:
luctant visitors, both
by
his
own example, and by thC most .extravagant
praises of the delicacies set before them. These, howeverfofter having 'corif*
trived to swallow
their dinner chiefly of dry bread,
some few morsels, declared themselves satisffellîa^âcKL fresh milk, sweetmeats, and the unadComposer, soon
after, this
ulterated juice of the grape. Happily the
memo-
rable repast,
grew tired
;
of his adventures in the kitchen.
He voluntarily resign-
ed the .sceptre
his desk
,
the housekeeper
was
reinstated and her master returned to

to
which he did not again venture

indigestion
desert , for the sake of giving
hjmself
Ui
by
his
own
culinary preparations.
As
model.
Conductor Beethoven could by no means be considered as a

to the Orchestra
Woe
which
,
did not exert
all
its
attention to prevent
being led astray by his baton

composition, and
tions
for
he had no feeling but for the poetry of his
was incessantly in motion, through the numerous gesticulaby which he was accustomed to betray its effect upon him. Thus he
frequently gave the
down
beat in any forcible passage
although
it
occurred
on the
and
false accent of the bar.
He was accustomed
his desk
to
mark the whole prothe pianissimo
gress of a diminuendo passage, indicating the most gradual decrease possible,

literally
,
almost slipping
down under
when
,
was
reached. So
when
the sound
was required
to increase
he himself rose up he raised himself

every nerve and
as from below,
and with the commencement of the

giant height,
Tutti,
on
tiptoe almost to a
if
and with both his arms spread out he

the clouds;
appeared as
about to take his

in action,
flight into
muscle seemed
and the whole
man resembled
a perpetuum mobile.
As
his
deafness increased, however,
most woeful discords frequently occonveyed
curred, the Conductor beating in one time and the band accompanying in
another. Piano passages
were most
;
easily
to
him
of the Fortes
he
heard absolutely nothing

guided t by his eye;
all
was
confusion. In such cases,
he could only be
he watched the bowing of the stringed instruments,
guessed
at the
musical phrase which
was being executed and soon

gift
set
,
him-
self right.
But he did not possess the mechanical
of conducting
which
indeed
is
seldom
to
be met with in any composer of real genius and fiery
imagination.

Before Beethovept began to be troubled by his organic defect, he
13
was
constantly present at the performance of Operas, particularly those which
took place in the beautiful Theatre on the

it
Wien
which he preferred
visiting
was so conveniently near to his own dwelling. Thither was because attracted by the compositions of Chebubini and Mehul, especially he more
which were then
just beginning to kindle the enthusiasm of the
Viennese,
and upon
such occasions he planted himself against the back of the Orchestra,

as
and remained
silence,
mute
as a statue,
till
the last note had
been played. This
however, was
the only sign
by which he showed
it
that the composition
interested him;
when on
first
the contrary,
did not please him, he turned to

fled.
the right about, the

things
time the act-scene dropped, and
Above
to all
;
all
was
it
difficult,
nay, next to impossible, to draw from him any sigp
either of applause .or disapproval; he
was generally
fleshly
silent,
and,
aphis
pearance
spirit
cold and reserved in his opinions about his compeers in art

restlessly at
alone was
It
work
its
tenement seemed
to
like soulless
marble.
is
a curious fact that he would sometimes listen
unmistakeably
bad music with real exultation,

bursts of laughter.
It
which he proclaimed by
pity
,
the
most noisy
was only a
to
that those
commonly around him

,
seldom knew
how
to
account for such peculiar explosions

laugh openly at his
and were not

secret
aware
that
he was accustomed
own
thoughts
and witticisms j
without giving any farther explanation of them.
Our Composer by no means belonged
to that class of vain musicians,
who
think
no orchestra
in the
world can be deserving of thanks. Sometimes

at
indeed he was too indulgent in not requiring faulty passages
rehearsal to
to
be repeated;
pression, he
,,It
will go right next time"

strict in
he would say. With regard
ex-
was
enforcing the most delicate

,
nuances,
the
most
nicely-proportioned distribution of light and shade
as well as
an
effective
tempo rubato, and discussed these points without restraint or want of temper
with any body.
ideas
,
When however
creations,
he perceived the musicians entered into

,
his
and went together with Increasing unanimity

his
artistic
wrought upon by the
magic of
his
countenance lighted up in a moment,

,
every feature was animated by satisfaction
happy smile played about

artists,;
it
his
mouth
finest
and
thundering bravi
tutti
rewarded the excited
was
the
moment
of triumphant self-consciousness, before
which the shout of
applause from a large and eager audience faded

trial
into insignificance. At a
a prima vista
it
was
often necessary,
in spite of the
presence of the
Conductor, to
stop, and thus
cut short the thread of the
whole composition
14
even
to his
this
he would bear very
patiently.
But when, particularly
in the scherzos
symphonies, they lighted in confusion upon a sudden and unexpected

,
change of time
Beethoven would break out
into a chuckling laugh
and ashe had
sure them that he should have expected nothing less,
and
that
been
all
along prepared for it;" and he showed childish joy at the feat, as
it,
he expressed
of having
thrown such stalwart knights out of the saddle."
While Beethoven was writing

mentioned
theatre on the
tion of his
his Fidelio,
he
lived, as
has already been
in the biographical notices, in the buildings
connected with the
Wien, and gave there
several
concerts,' for the
produc-
new
compositions , as well as for the performance of his earlier
works, which even then had attained to celebrity. Upon the production of his
Pianoforte Concertos in C-minor,
in the
his
G and E flat, he
invited the Editor of this work,
most friendly manner,
to turn
over for him, and thoroughly enjoyed

out
little
bewilderment when he found he could make

it
or
nothing
all
from the Score, covered as

descriptions.
was with
interpolations
and marks of
He
Tiad in fact
merely noted down the Ritornellos and the
first
notes of the solo passages, as
memoranda
at
for himself,
left
and in characters which

bars
half
filled -up,
nobody
else could
,
comprehend, and had

to
many
others quite blank
be finished
,
a more convenient opportunity.

agreement that
I
Such
being the
state of things
we came
to the
should
before he
reached the bottom of each page , be warned
to turn over.
During the perenjoy-
formance however, the Composer, then
still
cheerful,
and
alive to the
ment
of
any harmless joke and innocent roguery, could not deny himself the
pleasure of putting
as possible
,
me
into a fidget
till
and delaying the promised signal as long
generally
the very last
moment. This made

,
me
so nervous
that I should
have deserted
for the
my
post in disgust
had not the beauty of the
music atoned
Composer's ill-timed pleasantry.'
Amongst
his favorite dishes
was
a soup prepared like a panada,
upon
which he was accustomed
to regale himself
every thursday; for

to
this
,
purpose
which,
in
he required that ten fresh eggs should be brought
him on
a plate
before they were broken, he held up to the light and marked one
by one,
order to ascertain their goodness.

perceive, in one or two of
If it
was decreed by Fate

,
that he.
should
them
the tell-tale effluvium
a scene immediately the meantime,
ensued.
voice of thunder cited the hostess to appear,
who in
well knowing what the
summons portended, gave

;
only half an ear, behind
the door , to the storm brewing -within
if
she ventured to shew herself,
TRAITS OF CHARACTERS AND ANECDOTES.
13
to
woe
the
betide
her
;
for
volley of rotten eggs
was sure
meet her on
threshold
and
neither
soft
nor sweet were the epithets that
followed
Without a
stant
,
little
note book, wherein to jot

street.
If
down
*)
his ideas
this
upon the
in-
he never appeared in the

,
by chance
was
referred to in
conversation
he used
to
parody Joan of Arc's
words
,,nicht
ohne meine
Fahne darf
here
to this
ich
kommen" and with
a tenacity quite surprizing did he adall
self-imposed law, though in
other respects his household
presented an admirable scene of confusion. Books and Music were strewn
about in
all
directions
here
the remains of a cold breakfast
there sealed
new
or half-empty bottles
quartett,
yonder
the last
upon
the desk the rough sketch of a
and near
it
new poem
or romance.
On
the piano might be
seen the half-finished Score of a symphony as yet in embryo

a proof sheet waiting for correction
ring the floor
latus
between the windows
on
the table
private and business letters covea respectable stracchino cheese yet in spite of this medley,
,
ad
our
the fragments of a Verona saussage;
Composer had the

of a Cicero.
for,
habit, (in manifest contradiction to the fact,) of boasting, at

all
every opportunity, of his accuracy and love of order, with

It
the eloquence
to
was only when something
that
it
was wanted had
be hunted
hours, days, and even weeks, and
remained in obstinate seclusion,

for the faults
that
he assumed another tone, and the innocent suffered Yes yes" he would say complainingly
I
of
another.
,,that is
all
the misfortune!
nothing can remain in the place where
put
it
my
things are disturI"
bed, and tricks are everlastingly played upon me, a deaf
man
was
The servants
to
however well knew

heart's content,
the goodtempered grumbler; they let

after a
him scold
his
and
few minutes of ill-humour
all
forgotten, until
a similar negligence produced a similar scene.
He
writing,
frequently
made himself merry

an excuse, Life
is
at the
expence of
his illegible
hand-
and said
as
too short to allow one to paint letters
and notes**). Schouere Noten brachten mich schwerlieh aus den Nothen."
The whole
*)
I
of the morning, viz. from daybreak
till
the
hour of dinner, was
dare not
come without my Banner
Schiller's Joan of Arc.
would scarcely keep me from necessity." As it will be seen, the point of this sentence consists in the play upon the two words Nolen and Nothen, and therefore the translation cannot convey it. Unless I may be allowed to subsitule an English witticism conveying the same sense, Musical notes are not Bank notes.
**) ,,Fine notes
16
employed
ed the
in

mechanical work or transcribing
;
the rest of the day
was devofelt
ted to reflection, and the arrangement of bis ideas. Scarcely had he swallowlast
mouthful of his meal, than

fresh inspiration)
,
moment some
as if
off
he started (unless he
accustomed walk
twice round the
;
at the
to take his
,
i.
e.
he ran con-
by compulsion
in
double quick time
city.
He was
off,
once seen, just outside the
gates, standing quite alone, with his hat
templating the heavens. The
moon shone
brightly
this
upon
soon
his face
on which
to
an expression of sadness was discernible;

haughty self-reliance , and he was heard
they please about
to
changed
one of
stuff
say let
them write what

they will
me
and
call
me
all
the hard
names
I
they can
no more extinguish the
light of
my
genius than
can darken that moon."
Beethoven seldom allowed himself, even among

to let fall
his intimate friends,
an opinion upon his compeers in

,
dermentioned masters
Cherubini
is
to
What he thought of the unshall be communicated in his own concise words. me the most worthy of attention among all living
art.
Operatic Composers.
Also with his conception

I shall
of the
Requiem
hints
entirely
agree, and should
myself write one,
take
many
him
from him."
C.M. von Weber began too

itself naturally,
late to learn; in
art
could not develope

a genius*).
first
and
his visible
and only aim was

is
to
,
be regarded as
Mozart's greatest work

himself a
German Composer.
the Zauberflole
for in that did
he
show
Don Juan has
the complete Italian cut,
and, moreover, the divine Aft ought never to have been lowered to the
folly of so
scandalous a subject."
is
Handel
the unequalled master of
all
masters
Go home and
learn
how, with such small means, such great
effects
were produced."
When
during his
last illness
he underwent the operation of tapping, he
exclaimed Better water from the body, than water from the pen."
He received from
Cantata for them
,
a Musical Society the flattering request to
compose a
title
for
which the payment was accompanied with the

it,
of
Honorary Member. Beethoven accepted
but allowed a very long time to
elapse without their hearing anything further from him. At last there reached
him
couched
in the
most
delicate possible terms
a written
reminder of the
*)
Very probably
inasmuch as
he
wa $
a genius
P.
TRAITS OF CHARACTERS AND ANECDOTES.
duty he had undertaken, signed, in consequence of the absence of the President , by deputy. The laconic reply ran as follows
I have not forgotten;
such things are not be hurried;
I will-iikeep
my
word..
Signed by myself. Beethoven manu propria,"

Alas
I
he could not keep
his
word
If lie
did not happen to feel inclined for it himself, pressing and repeated
entreaties
were
requisite to bring
him
to the pianoforte.
Before he- began" to
play he would then strike the keys with the palm of his hand, run over them
with one Auger and play several

time. During a
little tricks,
laughing heartily at them
all
the
summer
visit to the
country seat of a nobleman , he was to

foreign guests
,
so teased to let himself be heard

at last quite
by some
that
he became
a-
angry
and obstinately refused what he considered as

threat, certainly not in earnest, of
service
to the
exacted from him.
imprisonment
house
had the
effect of
making Beethoven escape

,
in the night to
a town at
some miles
wind, back
distance, and from thence he posted

to Vienna.
as on the wings of the
As a
satisfaction for the
insult, his
unlucky patron's
it
bust was offered up a

the
sacrifice.
The
irritated
Composer threw
out of
window!
"
As Joseph Haydn's
less, principally
illness increased,
Beethoven
visited
him
less
and
from a sort of apprehension, because he was aware that he

for himself
had struck out a path

these terms Well
which Haydn did not approve
of.
Never,
theless the amiable old Mentor frequently enquired after his

,
Telemachus
in
how
goes on our Grefat Mogul ?"
Beethoven was possessed with a singular passion

of habitation, although the'
for a constant
change
moving about with bag and baggage" was very

loss.
troublesome
to
him, and was each time attended. with some
Scarcely
was he
established in a
new
dwelling
when something
find another,
or another displeased
him, and he walked himself foot-sore to
sometimes managing
_ ;
so cleverly as to have several sets of lodgings on his hands at once
in this
way,
the
as in
many
others,
he spent money
to
no purpose, merely indulging
whim
After
of the
moment.
deaf, he spoke but
is
little,
Beethoven became
tablets.
writing
down
his
remarks on his
What
Rossini?" was once asked of him
he
wrote for answer:
a- clever
Scene-painter."
18
Kuhlau , the Danish Maltre de

Mr.
chapelle
being at Vienna , would on no
account leave the city without having made the acquaintance of Beethoven.
Hasunger
therefore got together a
little
excursion to Baden
,.
at
which
Court
place the Composer had taken up his abode for the summer, and Mr. Sell-
neb,
(the Professor
in
the
Conservatorio) Mr.
Conjiad
Graf,
the
Pianoforte-maker, and a
guests honored
warm
friend of Beethoven's, Mr. Holz,
were the
by an
invitation.
No sooner were
they arrived at Hygeia's

of their expectant
,
health-giving fountain and had received- the hearty
welcome
host ,
than was heard
after
short interval of repose
the unanimous
cry of ,,Let us go out."

like a
Away
they went
the eager host leading the
way
bell-wether, and behind him the town-bred trio,
who had
out.
sbma.diffi-
jailty to
keep pace with his walking

fancy of the
he having formed the determination,
as .the
all
moment
were
(o
to tire
them completely
To
this end,
intricate
the favorite spots
be
visited y
so.
and of course by the most
paths.
First they clambered, like
many chamois, up
to the ruins of
Bauhenstein and Rauheneck, from the towers of which the eye, as far as it could
reach, wandered over the rich extent of country, spread before
carpet.
it
like a
Then the humorous Composer,

of one of his
seizing
full,
with a
firm
hand upon
the
arm
companions
ran at
speed
down
a nearly perpen-
dicijlar height,
and shouted with laughter
at
the droll appearance of his
friends,
briars.
who
After
slipped
down
after
him over sharp pebbles, brambles, and

the social meal, which was
overcoming so many perils,
prepared in the lovely Relenenthal , made a rich compensation,

state of equal fatigue with, his guests
,
and the
himself,-
in
which our wanderer found

and
apparently served but to enhance his
own
enjoyment. The sparkling Sillery

.
here had somewhat more than

the
its
wonted
effect,
at
Beethoven's house
of Johannisberger
work was completed by

The
rich
and copious
libations
in the
ot the best vintage.
jovial
Amphytrion was
most amiable possible
temper, to which his friends responded with the warmest cordiality. Kuhlau
extemporized a Canon upon the name of Bach , and Beethoven dedicated to

the
memory
of
this
enjoyable day the impromptu upon* the same theme

at
inserted below.
the joke*)
Be was
some pains
to apologise,
the next morning, for
which might'perhaps give annoyance

little
to his
esteemed friend, and

p.'
sent
him
the
note which
we
here present
to the reader, (v.
19.)
^ÊÊEEÊÊEÊfE^Ê
Kuhl
nichl
Ê^
lau, Jii.cht
lau,
Kiihl
nicht lau, 'Kuhlau nicht
*)
Kuhlau's
name was formed
of the
two words Cool-Lukewarm.
19
lau.
Kiihl
nrcht nicht
lau, lau,"
Zoco.
Kiihl
nicht
lau,
nicht lau.
in Svabassa.
SEqPfrJgEg
Kiihl
=t
nicht lau,
*
Kiihl nicht
^-Pe
Ian,
:t
nicht
lau.
Kiihl
Baden, Sept.
I
3.
1825.
must confess
I
that the
Champagne mounted
,
to
my
to
head yesterday,
and
as
have learned by experience
that sort of stimulus rather depresses
then elevates
my
powers
which usually respond quickly
do not
in the least recollect
what
wrote yesterday.
any demand.
*^.
Think
now and
then
of,
your most demoted
Beethoven, manu propria.
were accustomed
recollect M.
Many who during Beethoven's. life, and even up to a much teter date, to move in the higher circles of Vienna will not fail to
,
von Griesingeb, the Ambassador from the King of Saxony
to the
Austrian Court. M. von Griesinger
was a
friend of art
and
artists,
and spoke
unreservedly of his intercourse with the celebrities of his day. The worthy
old-
gentleman was accustomed frequently

at
to'
recur to the fact that as a young
man' he had been present
the
first
representation of the Zauberflote
(Mozart's Opera The magic Flute.")
With Beethoven
also
he had come
:
into contact several times
and once
related the following passages
Although," said the Composer, the

tacked
libretto of the
Freyschutz was at-
by the
Critics,
although there were self-sufficient Musicians
who conit
sidered the music as of too popular and unlearned a character, because
was not
tedious, bombastic,
real
and obscure
which with some people are terms
synonymous with
depth and learning'
yet the unprecedented success of

all
the Freyschutz could not be denied, and almost
living
Composers envied had re-
Weber
the possession of such a libretto."

this success,
The poet, Friedrich Kind, inconsequence of

ceived proposals for writing several
new Operas, and
completed two, of
.
which one bore the

requisite before
title
of
# ,the
Miners" (Die RuthengangerJ
But the
is
poet of the Freyschutz was sharp enough to perceive that good music
all
things,
to .ensure
the
success of an Opera, and ex,
pressed in a conversation with
me
(at Teplitz)
how
glad he. should be

like to to
if
Beethoven would
to
set a libretto of his to music;' but
he did not
I
write
him, having heard much of B's repulsive manner.
undertook
sound
20
Beethoven
as soon as
for
it
him upon
this subject, at the first

I
convenient opportunity, and
was
possible,
kept
my
promise. Beethoven
;
made me
I
this
answer
Thank you, thank you very much

it
am
quite sensible of the value
of the libretto of the Freyschutz,

that
if
is
both musical and picturesque;
Relieve
Kind were
to look back once more into the archives of tradition he would
write an excellent popular Opera; but for such a poem I should not feel sufficient
interest to set
it
to music."
My
Fidelio has not
been comprehended by the

will
public
but
I
know
the time will
come when
it
be prized
nevertheless,
it
although
to
am
perfectly well
aware -of the value of
me
that the
it
Symphony
is
my peculiar
full
element.
my When
I
Fidelio,
I
is
evident
have music in
my
head,
is
'always the music of a
orchestra;
can exact everything and

I
anything from Instrumentalists, but in vocal composition

petually asking: Will this sing? No,
must be per-
No, Mr. Frederick Kind must not think

about Weber, and Beethoven extolled
I
the worse of
me
for
it,
but
I shall
never write another Opera."
They then went
on. to converse
him
inordinately, so
much
so, that
feel
but
little
doubt the depreciating
opinions which he has been
made
to
express concerning that
Composer
were put
into his
mouth. That he praised

for
Weber from
motives of policy
cannot, for a
moment be supposed,
little
he never shrunk from speaking out
what he thought, with very
ceremony.
still
M. von Griesinger related further: When, we were both
young,
only an attache, and Beethoven only a celebrated pianoforte player, but as

yet
little
known
as a
composer ,
gentleman,
Prince Lobkowitz.
we happened to be together at who thought himself a great

life
I-
the "house of
connoisseur,
inclinations.
entered into a conversation with' Beethoven upon a poet's

-,;I
and
wish"
said Beethoven,- with his native candour," that

,
was
relieved from
all
the bargain and sale of publication
and could meet with some one who

for
could pay
to
me
a certain income for

all
life,
;
which he should possess the

I
right
publish exclusively
I
that I
wrote
and
would not be
if
idle in
composi-
tion.
believe
Gobthe does
this
with Cotta, and,
J mistake not, Handel's
London publisher held
similar terms with him."
My
complain
expected
,
dear young
for
man",
said
this
grave wiseacre,
,
You must not

it is
you are neither a Goethe nor a Handel

you ever
will
bit his 'lips,
and
not to be
-that
be, for such masters will not be born again."
Beethoven
gave a most contemptuous glance
at
the speaker,
and said not another word to him. Afterwards howeveF he expressed himself pretty warmly upon the insolence of this flippant individual. Prince Lobkowitz endeavored to draw Beethoven into temperate modes
of thought, and said in a friendly
manner, when the conversation once hap-
pened
to turn
upon
this
person ,
My
dear Beethoven
the gentleman did

not intend to
21
wound you
it
is
an established maxim , which most
men ad-
here to, that the present generation cannot possibly produce such mighty
spirits as the
dead who have already earned their fame."

the
So much
worse
your Highness," replied Beethoven,

trust in
,,but
with
to
men who
will not believe

I
and
me
because
am
as yet
unknown
universal fame,
cannot hold intercourse."

,
their heads and called the young Composer arrogant Had these gentry been able to look into the future, they would have been a little ashamed of themselves.
Many then shook
and overbearing.
Dr. Alfred Julius Becher*) related the following anecdote, for the truth
of
which he was ready
to
vouch.
Beethoven had, received the most flattering proofs of distinction from

England
;
he found himself one day
in an hotel
the golden Lamb

men
at
Vienna, and
observed several musical and literary
talking in a very
animated manner together. He asked what was going on ?

,,
These gentlemen maintain that the English neither know

to estimate
pose.,
nor
good music," replied Mayseder, but

.,
how to comam of another
opinion."
.& Beethoven answered sarcastically. The English have bespoken several
compositions of mine for their Concerts **) and have sent
me handsome
,
reare
muneration for them

only
their
lish
the
Germans with the exception

,
of the Viennese
now
know
beginning
to appreciate
:
me, and the French find

it is
my
music beyond
powers
of performance
Accordingly,
Is it
as clear as day, that the
Eng-
nothing about music!

to
not so? Ha ha!" He laughed heartily,
and the dispute came
an end.
Beethoven was
and
soul.
in the strongest sense of the
word,
German
body
Though
to
quite at
,
home
in the Latin
it
French and
,
Italian tongues,
he preferred
make use
wherever
,
was
possible
of his natural idiom.
Could he have had his
own way
all
his
works would have been published

little
with German title-pages. Even the exotic
word pianoforte
,,
did
he
seek to expunge, substituting the peculiar term
Hammer-Harpsichord"***)
as a far better adapted expression. As a recreation after hard labour, he preferred, next to his beloved poetry, the study of general history.
Amongst the
Poets of
Germany Goethe was

qf the
his favorite
he was fond of Walter Scott.
Beethoven Dervishes" a name assumed by a he was a very able critic. **) The Philharmonic Society in London. ***) See the Pianiste's Musical Museum. 4. part: Beethoven's Sonata No. 104. Tobias Haslingcr's edition, Vienna.
*)
One
members
of the
Musical Society in Vienna about the period 1838 to 4848
22
Of the

rest of the fine arts,
and of the Sciences, he possessed, without

superficial
priding himself
upon
it,
more than a merely
knowledge. In the
,
circle of his intimates

,
he spoke out freely upon

,
politics
,
and with such
commanding well-directed
and perspicuous views
as
one would scarcely
have expected from a recluse living only for and
in the interests of his Art.
Rectitude of principle, high morality, propriety of feeling, and pure natural

religion
were them
his distinctions. These virtues reigned within himself,

at the
and he
required'
hands of others. As good as

a
his
word" was
his favo-
rite saying,
and nothing angered him more than
broken promise. He was

at the
always ready, our>of
warm
benevolence, to help others, and that often
expense of serious sacrifices in his
own
person.
Whoever turned
was but
little
to
him
for
voluntarily, and in perfect confidence, might

aid.
safely reckon
upon him
He knew
neither avarice nor extravagance, and
acquainted
with the real value of money, which he used only as a means for procuring
the indispensable requirements of
signs of an anxious parsimony
life
;
it
was only
in his later years that

interfe-
became apparent, without however

s J
fering with his natural bias for benevolent actions,
Whilsl half a world was only a few were
echoing the praise and admiration of the

capable of honoring, to
its
gift'q'd
Jartist,
full
felt
extent,
his
worth as a man. And why?

shell,
because the greater number
themselves repulsed by the rough
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

this
the result
was, as usual, disappointment, and
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 favourite
poet Goethe in belief of the adage
trust
you."
trust yourself,
and others
will
His extreme sensitiveness on

frequently caused
some points degenerated

commonest
into caprice,
and
him
to neglect the
rules of courtesy; e. g. he
,
suddenly
left
the country-house of the Baron v.
A
said
who had
invited
him
to stay there for several
months
because
as
he
the Baron annOyed

,
him with
morning,
his excessive politeness,

if
and he could not bear to be asked
every
he were quite welll"

all
But his friends pardoned

nius and his
many
sterling qualities.
such eccentricities for the sake of his ge*?
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
how
greatly have
you wronged
me as morose, me You know

!
obdurate and misanthropical,

not the hidden causes that
produced the
effects
which you misconstrue. From

to
my
;
childhood upwards,
my
I
heart and
mind have been open

six years
the instincts of benevolence, and
have ever
I
felt
the longing to perform great actions
but you must
reflect
that
have for
of skill in
been
afflicted
,
with a malady which , aggravated by
want
my
physicians
has year after year disappointed

into
my
hopes of
relief,
and has
at length
grown
an
evil,
the cure of
all.
which may require
years, and perhaps
may never be
effected at
all
Born with a vivacious and

I
ardent temperament, and alive to
the attractions of society,
was
forced,
in the prime of life, to shut myself out from the world,
and
live in solitude.
Occasionally,
when
try to brave
my
fate,
and go
into
company, by what a
!
bitter experience of
I
my
increasing deafness
am
yet
say to people Speak louder

I
louder
it.
driven back again

for
I
could
avow
the total loss of a sense expected td

I
How can how be more perfeGf in me

am
deaf." Alas!
than in others, and which
once did possess in a degree of perfection enTherefore you must pardon

I
it
joyed by very few?
could not do
you see me shrink from those scenes which

misfortune grieves ine doubly, inasmuch as
terpretation.
would most willingly

subjects
of
enter.
me when My
mutual
are
all
my
actions to misin-
To
outpourings Of
forbidden
;
mind
me
the charming
recreations
society
the free intercourse with refined natures
its
alone, and venturing

I live like
among my
fellow creatures
if I
no more than
is
absolutely necessary,
it is
an outcast, for
I
do venture into the world,
only to suffer the intensest anxiety lest
should betray
my
condition.
During
to
my
late residence in thetqountry,
my
excellent pliysician advised

,
me
spare the injured organ as^much as possible

,
and
,
desired to comply
with such advice
although, tempted
by
inclination
suffered myself several
times to be drawn into society. Judge then of
my
humiliation
when
found
24
a person near
THE WILL OF LUDWIG VAN BEETHOVEN.
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 it seemed to me own hand. Art she alone she held me back
impossible to quit this world before
had accomplished
all
of
which
felt
myself capable, and therefore
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
must take
for
my
guide, with
life.
a mournful hope of clinging
to
haps
I shall
recover
her
till
the Fates cut

I
my
thread of
Per-
perhaps not
it
resolved in
my
twenty eighth
artist
year, to
become a philosopher;
any one
else.
is
not easy, and less so for an
than
for almost
its
Eternal Being
that
inmost recesses
thou knowest
my
friends,
if
Thon
seest
my
heart and knowest
it
cherishes love and benevolence

shall read this, consider that you;*
let
for all
mankind! Oh
.when you
have greatly wronged me, and
there be one
be comforted by the
of obstacles
reflection that there
unhappy among you, was another .Jjke him,- who,

all
him
in spite
thrown in his way by nature, did
that in
him
lay to gain a
place
among
distinguished artists and great men. Fintreat you,
my
if
brothers
still
Charles and ... to request Professor Schmidt in

living, to describe
my name,
its
he be
my malady,
and adding
this
paper to
history, to
'let
the world at least be reeoneiled to

joint heirs of
me
after death. I also

it
here declare you

it
my
at
I
small property
(if
suoh
can be
called).
Share
honestly
I
between you, and bear with and

have suffered
assist
one another. Whatever wrong
your hands, has, yau know, been long since forgiven.

thank most especially for the attachment you have lately
trust
You, Charles,
shewn
to
I
me;
you
will lead a better life
and one more

;
free
,
from
care than
have done. Bring up your children
hi virtue
that alone
and
not wealth , can

virtSue- lifted
make us happy.
life
speak from experience
when
to
say that
me
out of misery, and, next to
my
.
art, I
have
thank virtue
all
that I did not

I
end
by
suicide. Farewell
love each other.
To
friends
bequeath
I
my
thanks ,
especially
to
Prince Lichnowsky and Professor
Schmidt.
wish that Prince Lichnowsky's instruments should be retained,

strife
I
;
undivided , by one of you , but not to become the cause of any
if
however they can serve you

like to
to
any useful purpose ,

in
sell
them
set
I
in.,
should
!
be of servioe
to
you even
my
grave. All
is
now
order
hasten gladly towards death;

full
should he reach
artist^pawff-s
,
me
I
before
have enjoyed he comes too
soon
opportunity to develope
in spite of
my
fate
shall think
little
my
hard
and wpf-for a
delay; but yet

!
how
blest will
be the hour of release from a

fth
state of constant suffering
Come
when
thou wilt,
death,
I shall
meet thee courageously! Farewell, and
LETTERS.
not entirely forget in death him
often thought of
25
I
who
deserves to be remembered, for

;
have
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
I
do
take
my
leave of
you, and
I
a mournful
"
one. Yes
must now abandon the hopes
that
brought with
me
as
" &
of being at least partially cured;

.
they
fall
now
forsake
,
me
g2
o
u
the leaves of
fallen
autumn fade and

return nearly as
I
from the trees
so have they
g
>,
"a
t>
away.
came. Even the lightheadedness
which came
nished.
to
me
with the beauty of the

!
summer days has va!
Providence
it,
vouchsafe
me one
bright day of joy
long,
long
is
since the deepfelt echo of real joy has reached me.
jj
when
when, Eternal Being,
shall I feel
it
again in the temple

too cruel
I
of nature and, of Humanity! never? no
it is
LETTERS
written alternately to Mr. S. A. Steiner, and his partner Tobias Haslinger.
No.
1.
Well-born and worthy of high admiration
t.
*)
We
we
as I
beg of you
to
change the
it
24
Ducats in gold according to yesterday's

this, or
account received, and to send

will transmit
to to
to
us either
tomorrow evening, when
and deliver the 24 Ducats
at
the
same
time.
to
,
It
would be
it
very agreeable
me
if
your well-deserving Adjutant were

all
bring
to
me,
want much
speak to him. He must forget

his services,
grudge
like a Christian
we
acknowledge
and do not acknowledge

it is
,
that
which he does
most excel-
not deserve. The long and the short of
we wish
to see
him.
are,
This evening. would be the most convenient to us.

lent
We
Gt
your most devoted
G s.
*)" It is
necessary to explain that Beethoven styled himself playfully Generaliss)
simus (G
Herr Steimeb, General Lieutenant (G

office.
*~;
time, Herr Tobias Has-linger, Gerusgal Adjutant (Ad

called the
a and his partner that The place of business was

t)
at
rl).
war
Beelhovcn
Sludie-s.
23
26
LETTERS.
No.
2.
II
To
the high
and well-born G
Stbinek, for
hisown hands.
Notice.
We
have upon our own examination
and the hearing of our council,

all
determined and resolved, from henceforth on

to Substitute
our works with German
titles
the
word Hammer-Clavier ^Hammer-harpsichord)
for Pianoforte,
ancl^ve charge our worthy Lieutenant General and Adjutants

as well as
tion that
all
assembled,
into
others
is
whom
it
may concern
to carry out
and put
execu-
which
here once
for all decided.
Given
etc. etc.
Jan. 23. 1817.
from Head Quarters,
m. p.
No.
3.
Please let the Dedication stand thus
Sonata
or
for the Pi aj&Sitf o Hammer-Harpsichor^jt

composed and
rte
dedicated to the Baroness Dorothea Ertmann, nee Graumann,

by
Ludwig van Beethoven.

For the
new
,
Sonatas the
,
title
must be ready
pay
so
make
the following two

,
proposals
namely
either I myself will
for a
new
title
or
it
shall
be
reserved foe a
new
Sonata by
titulo)
me
for
which the long purse

first.
of oujr trusty
G;11
man
due
!
(gaudeat pleno
it
and the
State-Councillor must open, in
order- to bring
in a language
;
into the light of day.

is
title
should, above
all
things, be
which
well understood.
is
without doubt the invention
Hammer- Clavier is thorough Geralso German honor where honor is

;
How
is it
then that
get
no notice of the execution of the same? As ever, you servant,

Amicus
ad amicum
I
beg you
will
observe the most enI
de amico
tire silence as to the dedication, that
,_
may make
a sensation with
it.
Ad
ju
tant
LETTERS.
No.
4.
27
We
shall thank
you kindly
to
send us two copies of the score of the

a copy of the
Symphony
after
in
we also Wish to know when we can have

is
Sonata for the Baroness von Ertmann, as she leaves this, at farthest, the day
tomorrow.
No.
3.
namely a note, herewith enclosed,

is
from
a musical friend in
Silesia,
who however
to
not rich, and has therefore copied music for
me? he
wishes
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)

to
cannot make any use of him in

to
this matter.
Be therefore so good as
send
Mr. ****(theG
cannot enter into such
an agreement with a small shopkeeper)
and
let
me know how much

scores in A, and an
they will cost,

answer
tissimo).
is
sending
me
this together
with
my two
be, for
to
my
questions about the Ertmann, today at the soonest (presto pres-
Pray spare
me
*1
as
much
trouble as
may
my
health, just
now,
none of the
strongest. L. van
Beethoven m. p.
Good.
The best possible fellow
for the
the Devil himself

No. 5.
for
the Bad.
The G
t is
requested- to send his familiar, to
opinion regarding the Battle
whom I may state my translated into real Turkish it
must be very much
altered.
G s.
No.
6.
To
Steiner and Co.
The G

11
of the
Company has promised every
assistance to the
young
that
Artist
Booklet from Prague,

will
who
is
a firstrate violinist.
as
We
hope
our
introduction
be respected,
we
Your's
are
with
the
wildest
devotion,
G
~f-~
s.
No. 7.
To Mr. Tobias Haslinger.

Adjutai^jifc
My
dear Mannikin
,
Look
after the little
house once more

I
and
beg you earnestly
to
lend
me
the
Treatise on Education.
am
very desirous of being able to
23*
28
explain
LETTERS.
my
ideas
upon
fhat subject to others
and
(I
to
make myself
clearly
comprehended. With regard

course in his education.
to the Adjutant
have
believe) taken the right
Your's
Cont?a Fa.
m. p.
No.
For the -well-born Mr. Haslinger,
8.
member
extraordinary of the courts of Graben and
Paternoster Row.*)
Very dear Printer and Engraver,
Be
to
me
the kindest of the kind

off.
and
let
a hundred copies of this
little
plate be struck
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 My
known.
I
dear and worthy Brother in Apollo
hearty thanks for the trouble you have given yourself about
my
am
in
humane
work; and
will
lam
very glad that
its
success should be generally

it
hope you
never forget
me
if
ever
should so happen that

of so doing.
in a condition to serve
you with
my
small
means
The excellent
committee
order
is
without doubt sufficiently informed
^jf
my
good wishes. But
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
I
is
never
likely to halt.
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

(Seyfried.)
thanks of the Society and of the Committee of management.
LETTERS.
No. 10.
29
To
the most celebrated musical firm in Europe, Steiner
and Co. Paternoster Row.
May
beg from the Geh' Bacer*) a few

go to
this
who wish
of these
to
music-meeting
;
you have perhaps yourselves some

,
tickets for
some
of
my
friends
same cards of admission
if
so
lend
me
one or two
Your
The part belongs

in
to
the chorus
Amicus
which Bauer
is
one of the singers.
Beethoven
m. p.
No.
H
me
the score of the Overture in
is
To Mr.
Haslinger, Adjutant etc. etc.

rl to
May
beg of the Ad
it
lend
will return
as soon as the performance

to lend
over.
must beg you
also to
be
good enough
book.
I
me Kirnberger,
some one
totally
I
in order to supply the place of

,
my own
wilder-
am
instructing
in Counterpoint
and
my own
manuscript
upon
this subject**)
am
unable
to find just
now, among my
ness of papers.
I
am
yours
Mi
contra Fa.
m. p.
No. 12.
To Tobias Adjutant.
My
I
dear Adjutant
florins that
it is
have made a bet of ten
not true that you have been
obliged to pay two thousand florins as a compensation to

of the edition of the
M
I
works
wish
for I
A am surejhey must
the exact truth
oh account
sell,,
printed over and over again.

lieve
it
to
know
though
cannot be-
possible. If
it
be the case, however,
that this injustice has

florins.
been done
you, then Oh dolce contehto" must pay down ten

Yours
Beethoven
m. p.
*)
play on the
name Gebader
**)
The
original Mss. of the
which will not bear translation. work here given to the Public.
30
WRITTEN DIALOGUES,
WRITTEN DIALOGUES *).

I have a white -washed room in my # Qu. Give me your advice painting is house and some old tapestry with which I wish to hang it
now
out of date, and costs too
much
where
will
can
find a
person to hang
this tapestry (in
one room) and what

is less
be the expense?
An. Painting
oldfashioned and cheaps enough; your tapestry will

!
become a
Qu.
resort for spiders
What
is
the price of a large writing-table

soft or
such as are
now made,
with drawers, of
hard wood?
,
An. They are readily to be had
of nut or cherry
wood
costing about
from 80
Qu.
to
\%0
florins.
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

fits
me
a tailor? Mine
if I
is
it
fool.
This frock-coat
me
like
a sack
look exactly as
had stolen
fbr
?
An. J'will send Mr. N. to you,

Qu..
who works
me.
Does he
;
call
himself an Artist in clothes

to the
An. No
he remains true
honest old German
name
for his craft.
Qu. Does he produce strong and firm work?

An.
I
have no doubt of
it.
Qu.
I
My
stupid hero of the goose cannot

this jacket barely half a year,
sew on even buttons

five are already
properly.
have worn
and
absent with-
out leave.
An.
*)
hope
my
employe
will
be able
to please you.
Beethoven entered a music-shop, a sheet of paper and a pencil were 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
placed before him. He wrote
When
correspondence.
WRITTEN DIALOGUES.
Qu.
is Is it
31
true that
Weber,
the Director of the Conservatory at Prague,
arrived here with Pixis ?
An. Yes
and both of them wish

not necessary
to
be allowed
to visit
you.
Qu.
It is
it
would be
difficult to
manage.
fancy
they are really learned?
An. Qu.
It It
seems so
according to
all
accounts.
is
may
well be believed. The Bohemian

Italians.
a musician born
It
is
very different with the
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
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
sing work.
we were
obliged
to
employ him upon another pres-
Qu.
Why
were you obliged
to
employ him upon anything

for
else ?
An. Because
because because we have occasion

I
money.
Qu. Money? Money? So have

to
occasion for
you
for
it,
you never have any forme.

otherwise
money, and when I come Money? Don't youfearn any by

.;..
my
labours? An. yes

!
we
should not be so desirous of possessing
them
or
make
the important sacrifices
which we do
;
for the copyrights. shall
In
the meanwhile have patience only for a few days

last
you
then receive the
proof, and
we
will also
have a handsome title-page prepared.

if
Qu. Title-page? a handsome title-page ?

thing,
I
the contents are worth no-
would not give a rush
for the.
most beautiful title-page in the world.

for
Have you any fresh Leipsic newspapers

An. None
,
me ?
;
but the one which

not yet
we
have already sent you
last
week's.
Qu. So
litz laid
? It is
come
to
hand.
,
N'importa
little
niente.
to
Since Rochinterest
down
don't
the baton of
1
command
I find
in
them
me.
But
why
see any customers here today?

at
An. Because the gay world likes better to lounge away the morning
the Carnival, than to spend
it
in
buying music.
32
JUDICIAL
INVENTARY AND VALUATION
Qu. In buying Music? there's the rub!''

thing but trashy music?
why
do you
sell
anywell-
Why
have you not long ago followed
my
intended advice? Be for once prudent, and come to reason. Get rid of your
hundred weight of reams of paper

sale float
real Ratisbon
let that
heavy
article of
down
the
Danube
and set up a sort of grocer's business , where

a cheap rate. Invite the hungry and thirsty
you
retail victuals
and drink
at
with a placard in
letters of a
yard long over your door,

at all
Musical Beer
shop !" and you

(Ha! ha! ha! ha!)
will
have so many customers
hours of the day, that
there will be a regular crush to get in, and your rooms will never be empty.
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.

(Jacob)
Bach, Trustee.
Hotschevar
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
Sketches for use, Fragments
etc.
incomplete works, not yet printed, and autograph.
No.
52.
54
No.
115. 116. 117. 118.
"
JUDICIAL INVENTARY
Coneerto for Pianof. in C.
AND VALUATION.
No.
135.
Concerto in
for Pianof.
'
Fragment of
Quartett.
a Quartett.
Finale for a Qnartett.
119. 120.
121
.
Sonata for Pianoforte.

Variations for Pianoforte.
Septett in parts.
Quartett.
122. 123. 124.

1
Sonata for Pianoforte. Concerto No.

Mass. No. 2.
Quartett.
2. for Pianof.
25.
126. 127.
128.
in parts.
Song
to Chloe. (Lied.)
129. 130. 131.
Finale to Leonore.
Quarletls.
2 Songs.
132.
133. 134.
Agnus Dei. Songs fr. Gellert. Songs fr. Goethe.
Ljeder
JUDICIAL INVENTARY
No.
4
AND VALUATION.
35
72.
36
No.
227.
OFFICIAL
Mozart's
ANNOUNCEMENT.
No.
235.
Don
Juan, Score.
Bach
G.
Art of the Fugue.
228.
229.
Mozart's Cosi fan tulle. Beethoven's ,,Christus,"

Score. Reicha's 36 Fugues,
236.
F.
Handel's
Harpsi-
chord-Music.
237. 238.
Beethoven's Symph. No. 9.

Paisiello's
Cherubim's Medea.
230.
laServapadrone.
Mozart's Titus
Score.
239.
Handel's works in 48 vo-
234.
Haydn's Seasons,
Salieri's
Score.
240.
lumes.
241. 242. 243. 244. 245.
Danaides.
lish).
The mount of Olives. (EngMozart's Quartelts.

,
Handel's Julius CSsar.
Mehul's Valentine
Score.
P. F.
a33.pBeethoven'sLeonore.
,
Score.
Alexander's Feast.
Beethoven's Cbristus.
234.
246.
torios.
Chorusses and Ora-
Beethoven's Choral Symph.
Symphony No.
9.
Score.
Musical Books.
No.
247.
Knecht's
Organ
School.
250.
Kirnberger's works. Koch's
Bach's Art
playing.
a
//
of Pianoforte
Harmony.
system.
251
252.
Vogler's Choral-
Albrechtsberger
Score.
248.
249.
Musical Journals.
on Composition.
Camphuisen's Collection of
Work by Haydn on
Marburg's
Fugue.
Harmony, Counterpoint, and ComSongs.

Riepel's
Treatise
on
position.
OFFICIAL ANNOUNCEMENT.
It is
made known through

left
the present edict
by
the Magistrate of the
Capital
and Imperial City of Vienna: In the next following public sale, the
property
by the deceased Musical Composer Lijdwig van Beethoven

:
will
be sold
by
auction
viz.
his private library of
Music
including
Fragments
Unfinished works in autograph and not
Sketches yet printed

and
Autograph Manuscripts of works already published
Partly-finished
autograph unprinted original Manuscripts of Beethoven

Beethoven's works,
Manuscript parts to
Manuscript Music of various composers

various other books
printed
Music, Musical books
an English pianoforte of
death
which the Testator made use up

finally a gold
td the time of his
two
violins
medal, valued at about forty ducats, will be

5. of
sold. to the highest
bidder, on the
November and
the following days, at the usual hours in
AGREEMENT.
the morning and afternoon, in the vegetable-market of this
city, at
57
the house
No. ii 49 second floor, left-hand staircase.
Vienna, Sept.
(After
7.
1827.
effects
the
sale
of these
the following advertisement

to
was issued by
Mr. Haslinger. The valuation does not seem
have been made public.)

letters are prin-
The
a complete
original
documents from which these papers and
ted lie ready for inspection at Mr. Haslinger's residence,

list
who
possesses also
of those to
whom
to
the property sold
at
the auction
was '.con-
signed
and
is"
prepared
give answers to
any verbal enquiries on the
subject."
AGREEMENT.
(Stamped.)
The
should
daily proofs
which Ludwig van Beethoven gives of

Artist
his
extraordi-
nary talent and genius as an

fulfil
and Composer,
excite the desire that
he
his
the great expectations

to warrant.
which the present experience of
powers would seem

As, however,
we
are well aware that no one can effectually devote
himself to Art, or produce works of importance,

free
who
is
not comparatively
from care and secured from indigence

resolution- of placing
we
the undersigned have

in
come
to the
Ludwig van Beethoven

to
such a position that
poverty shall not cramp or interfere* with his powerful genius.
To
this
end we bind ourselves
pay him annually the sum of four
thousand florins:*) as below. Signed

His Imperial Highness the Archduke Rudolph His Grace Prince Lobkowitz His Grace Prince" Ferdinand Kinskt
Total
. .
fl.
1500
700
1800
4000,
which pension Ludwig van Beethoven

in proportion to the
is
to receive in half-yearly
payments,
sum
given
by each
of the high contracting parties.
The Undersigned are

van Beethoven
shall
also prepared to continue this annuity until
Ludwig
to
have obtained an appointment which shall secure
him
an equivalent for the above-named sum.
*) About 160 , which in proportion was equal to 300 in England.
to the
then cheap rate of living at Vienna
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

part
life.*
,
On 'his
where
city
Ludwig van Beethoven promises
to fix his residence in
Vienna
the high contracting parties to this
document reside, or
in
some other
require
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
it;
of
which absences, however, the high contracting

to
parties shall
be informed, and
which.they shall previously agree. Given

at
Vienna
1.
March 1809.
Rudolph,
(L. S.)
Archduke.
(L. S.)
Prince von Lobkowitz,
Duke
(L. S.)
of Raudnitz.
,
Ferdinand
Prince Kinsky.
BAPTISMAL REGISTRY.
(Stamped.)
Government District
of Cologne.
^^
(Stamped.)
Extract
Circle of Bonn. Head-Burgomaster's office, Bonn. from the Parish Register of St. Remy in Bonn. Witnessed before the HeadBurgomaster of Bonn.
Milletoimo Septingeniesimo Septuagesimo, die
Anno
verichs
decima septima Decem,
tris baptizatus est

,
Ludovicus
filius
Domini Joannis van Beethoven

,
cbnjugum
legitimus
Patrini
et Helenae KeDominus Ludovicus van Beethoven,
et Gertirudis
Mutters, dicta Baums.
A
Bonn,
2.
correct copy.
of July 1827.
Head-Burgomaster,
(L: S.)
of Mr.
Windeck.
in
The above signature

seen and witnessed by
Cologne,
S.
Windeck, Head-Burgomaster
Bonn
was
us.
July 1827.
President of the Court of Justice.
For the same

*
'fe
President of the Council,
*>te{L. S.J
Peltzer.
to
Secretary
the Court of Justice,
Thurn.
THE FUNERAL.
The
signature,
59
Council
on the other
side, of Mr. Peltzer, President of the

,
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

cillor of Justice.
Coun-
(L. S.)
Signature
(wholly
illegible).
Chief Secretary,
J.
Therrer.
THE FUNERAL.
With an account
(This
is
of the compositions performed on that occasion.
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
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

hour
later,
their
appearance half an
,
and after they had prayed over
the'
mortal remains
;
the Vocalists
above-named sang a sacred chorale

then
by
B. A.
:
Weber
the whole procession
moved forward
1.
in the following order
The Cross-Bearer.
direction
2.
Four Trombone-players, the brothers Boeck,

3.
Messrs.
Weidl and Tuschky.
whose
The Chorus Master M. AssMayer, under
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.
the Chapel-Masters Eybler,
already named, and surrounded by
Hummel,
Seyfried, and Kreutzeb, on the right; Weigl, Gyrowetz, Gaensbacher, and
Wuerfel on
mourning end
of
it
the
left
scarfs.
7.
who wore On both
knots of white ribbon suspended from their

sides of ^he procession, from the extreme
as far back as the
coffin,
were 36 Torchbearers selected from

composers, actors, and musicians,
Jos.
amongst the friends of
art, poets, authors,
numbering among them Messrs. Anschuetz, Bernard,
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

crape on their
left
lilies
passed through the
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

for
and
those of the
etc. etc. All
St.
Anna School
Thorough Bass
loss,
Chapel-Master Drechsler,
felti
mourning together over a
which was
to
be irremediable
-*?".
in the world of Art.
Arrived at the Church, the sixteen Singers already
during the Blessing , the Libera
me Domine
was
de morte aeterna , composed
named performed, by
Chapel-Master *on Seyfried
for four voices,

it
with an orchestral accompt.
Upon
alone
,
this occasion,
however,
necessarily arranged for four male voices
alia capella.
,
As the State-hearse, drawn by four horses

rial
proceeded towards the Buline.
ground of Wahring, 'it was followed by several equipages from the
In the Burial-ground an oration in
honour of the departed, written by Grillthe Court- Actor, surrounded
parzer,
was delivered by Anschuetz
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,

r
upon
turf
the coffin. Those friends
who stood by who were most

>#<.
his side,
and
Who
laid
them
the
interested remained
till
was smoothed over the coffin. . Both the above-named compositions

in the
the Miserere and the Libera
were performed
Church of the Augustines on the occasion of mass
being said for the soul of Ludwig van Beethoven

zart's
on
the 3. of April.Mo,
Requiem was performed
in
memory
of the illustrious dead
and on
THE FUNERAL.
the 26. of the
41
same month Cherubini's Requiem Was given by Ale society of

Catholic Clergy
the Friends of Music, in compliance with the general wish; while the duties
of the
Roman
were repeated
at the
catafalque
when
is
the
Requiem was concluded.
The well-known but

follows.
interesting story connected with the Miserere

visiting his brother
as
While Ludwig van Beethoven was
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

short,
for the
purpose three pieces,
which though
I.
display throughout the
hand
of the master; the Chev.

to enrich
von Seyfbied was afterwards so fortunate as
an already inval-
uable collection of autographs of the great composer with the original Manuscript of this work.
On
the
morning
of the 26. of
March
827
when no hope remained

him
of
averting the threatened loss, Mr.
Hasunger
carried this manuscript to Chathe possibility of

,
pel-Master von Seyfried

arranging
it
in order to consider with
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
It
determined
to attempt- the task
and
set to
work without
delay.
was
finished during the following night.
This composition was therefore
made use
of in a double form
soli,
the piece
was
first
performed, in the original key., by four trombones

1
and then
repeated (transposed a tone lower) by the
6 singers
with the words adf
apted to
it,
viz.
those from the penitential psalm Miserere mei Dens

alternate
which
was chanted
church.
in
stanzas,
while the oprpse was carried into the
Beethoven, {Studies.
2i
ADTOPSY.
45
Beethoven having expressed

investigated
,
wish that the cause of
his deafness
might be
it
may
not be out of place to give a detailed account of the post

Jos.
mortem examination which was undertaken by Dr.

of the Deceased, in presence of Professor
results
Wagner,
D.
at the
house
Wawruch, M.
the principal
were
as follows.
was large and regularly formed, the scaphoid fossa but more was very spacious and half as large again as usual; the various 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 lining 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
The
external ear
,
especially the concha,
part of
its
spinal lamina appearing slightly reddened.

,
The facial nerves were of unusual thickness the auditory nerves on the conwere shrivelled and destitute of neurina the accompanying arteries were trary 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 and remarkably white they appeared very much of the brain were full of water 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 tence and greenish-blue colour, and was beset with knots, the
its
a leathery consissize of a
tuberculated surface, as well as in
its
substance;
all its
vessels
bean, on were very much
narrowed, and bloodless.
The Gall-bladder contained

velly sediment.
dark-brown
fluid
besides an abundance of gra-
^
to
The Spleen was found

and
firm.
be more than double
its
proper
f
size
dark-coloured,
The Pancreas was equally hard and firm,

goosequill.
its
excretory duct being as wide as a

greatly distended with air. Both
,
The Stomach together with

,
the
Bowels
was
Kidneys were invested by cellular membrane of an inch thick
and- infiltrated with
24*
"
44
a
;
NECROLOGUE.
of their as large
calices
brown turbid fluid their tissue was pale-red and opened out. Every one was occupied by a calcareous concretion of a wart-like shape and 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!
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

that
tenement which had in many respects proved so burdensome to him
he
must have succumbed
and
in his latter years 'have
been
lost to
Art
had
not his innate energy, his perseverance,

successful resistance to the foe.
and philosophic patience offered

his fifty fifth year.
He had reached
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

sesses
;
modern instrumental music pos-
the flights of his genius are the boldest and the loftiest that have
in
been attempted
our time.
all
He surpasses
he bas disdained
his rivals as
an Inventor,
for manifold as are his works,
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.

not to be restrained by the reflection that few
He was
hend him
at first
he
would comprebut his eye was
even risked the. chance of
failure;
not to be diverted from the bright star that shone above him and controlled
his destiny.
preciated,
Wherever
his greatest thoughts
and highest
efforts are
not ap-
it is
because the Few, that are capable of following his eagle flight,
are
are absent;
when they
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
in proportion to their
works
knowledge of them. For a long time past he has

that no one thought of him upon those points on which he grounded
,
maintained such a position among his competitors

disputing the sovereignty with
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.
part of his career unadvisedly ridiculed or underrated
45
him have long
since
their
repented their
folly,
and hide
their
shame
in
the obscurity which
was
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

life
which he
Artist.
;
was
was
created.
He
had no other aim or desire in
than to be a great
Neither wealth nor the tranquil joys of the household affections were his
to
Art
for
him both wife and
child.
life,
He
did not understand the world
and
the last fifteen years of his

tion as the intercourse
could not even hear
men
speak; in propor-
which he held with them diminished, so did he beto
come more
a
and
more incomprehensible
off
them
except thro' the
medium
of his music.
Cut
from society by the
loss of his hearing,
he constructed
mystic sphere
world
for himself out of sounds, not
heard
but felt. In
this
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 forleft
ward," and
hind him
plaint
at the
;
I
at
every stage of his progress he

his affliction serve
some worthy memorial behe looked not always
Nor did
with him as a constant source of com,
as he
went
on,
still
producing fresh creations
dark side of his fate, but praised the Mighty Bestower of genius for
gift.
so glorious a
grief
How many
let
days
that
would otherwise have passedîn

!
and bitterness , were solaced by the gracious Muse

for ever.
We
feel
our irre-
parable loss as a nation, but

us,
us rejoice that Beethoven's work.s remain to

will
an heir-loom
They
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
tory.
;
and he himself,
His fame
is
in his
own
individuality,
made
that period
and
its
his-
built
upon a sure foundation."
The following
choral Melody in
is
a literal translation of the stanza written

,
{,,Du
dem
nie
im Leben,"
funeral.
1
etc.)
by Grillparzer to the which was sung at Beethoven's
Thou, to
whom
life
vouchsafed nor
home nor
-
rest,
Sleepest at length in peace and quiet gloom

0,
if
our
List to
hymn can reach thy thine own sweet song
spirit bhf&t,
,
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

Where'er
it
o'er the thirsty plain

life,
flowed
it left
the seeds of
And
turn'd old nature into youth again
All throng'd
around
th'
enchanted spot, to crave
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,
its
And
Sol's bright rays
upon
surface gleam
Others a
common
!
rill the fount declare,

,
Less marvellous than some
and
far less fair
The fountain sank

With shame and
then
first
the giddy throng
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
to
Can bring the vanish'd fountain back
day
Thou
lost
One from thy mortal

,
,
fetters freed,
Thou
And
wert the fountain
and
its
power
thine
own;
Thine was the magic volume few could read,

less could
understand
its
n o w thou
art
known.
Now
every tongue
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

art
The canvass upon which with highest
He drew
his
image
shrouded
oft in
sadness,
gladness.
And sometimes
bright with
more than mortal
ELEGIES.
47
LINES BY
spoken
at
J.
F.
CASTELLI,
Beethoven's funeral.
called
The worshipp'd Muse halh
him
to the skies,
And yonder,
Strains
at
her side, those harmonies

,
That sprang from his deep mind
salute his ear

to
which on earth he was forbid
hear
*)
TO THE SHADE OF BEETHOVEN,

Impromptu by De
la
Motte Fouque.
Thou
Since
In
all
Master-spirit, often hath
my
soul
Thirsted to pour forth song for song with thee,

first th'
enigma of thy being
stole
the varied forms of
melody
!
O'er
my
enraptured senses
I
,
by
yet
thy tomb
Despairing
should stand
and
lasting
gloom
sing
Were mine but
that I trust
we
may
Together 'mid the roses of Heaven's spring.
(For these literal and elegant translations

a friend.)
am
indebted
to
the kindness of
P.
EPITAPHS BY
Ludovipo
-!
.
J.
GABRIEL SEIDL.
.
Van
Beethoven
.
Cujus
.
Ad Triste Omnes
. .
Mortis
.
Nuncium
Gentes
. .
Flevere
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

at the time
and the Sinfonia No.

its
which were
composed
when Beethoven's
deafness had reached
climax.
BEETHOVEN'S MONUMENT AT BONN.

Part of this appendix
is
translated from the
German
,
edition
but
have added
in
compliance with a request of the publisher's

vidual character,
his
and
brief
some remarks upon B's indisummary of my own opinions regarding
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,

the history of his
justice of
we must
record
monument
for in that speaks the voice of posterity, the

,
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
little
enough
to
keep back the man of real genius and
real claims.
Works
of
intrinsic value
may
till
eren please an
enlightened
,
public for a while;
the
sterling
gold
may be
so ingeniously imitated as to
pass muster even with

is
good judges
bear upon
a closer examination
is
more unerring eye

It
brought to
that a great
it;
then the counterfeit
exposed.
may happen
Artist (because
he disdains
to
aggrandize himself by seeking to bring his
name and works

venomous
critic
continually before the-public) has here and there given
offence; perhaps' he omits to flatter a patron, perhaps to visit

:
and
cajole a
for
such or similar reasons the PoefcArtist
may remain
much
over-
for a time in obscurity,
and be undervalued, while those

self- advancement,
far less gifted,
but more^skilled in the tricks of

prized
:
may be
as
*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

too
Artist receive the full
meed
of justice
neither
much blame nor
too
much
praise.
is
,
It
should, however, be remarked that
this perfect
balance of arbitration
not always to be found immediately after
the event of the great man's death

Artist:
whether he be Hero, Statesman,

is
Poet, or
some farther Japse of fce

envy
generally required to
is
fix
an unerring
standard of his claims.
His departure from the world
not unfrequently
the signal for an outburst of enthusiasm which as palpably overrates his

ritS/and abilities as the
me-
of his contemporaries had, perhaps, depreciated
them. Dearti
enmities
is
a mighty. reconciler, says Schiller; and in forgetting their
men
if
are apt to exaggerate the virtues to

,
which they were once
blind. But
nearly twenty years pass
and
this
enthusiasm remains unaba-
ted; r should Posterity
then
think
fit
to grant
such
ai
monument
as that
-,,

Beethoven
at
49
justice
!.-*)
of
Bonn
,'
there can be
little
doubt of
its
Many
Poet and Composer
dying prematurely and in the zenith of his reputation,

is
has been deified by fanatic admirers for a time; but such fame
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 fallen
own day
days,"
we might perhaps discover an instance of it. We are when fame is bought and sold, and is purchaseable at
teries
on
evil
a certain price, of
Co-
and Journalists
its
the Public being, for a while, too phlegmatic or too
timid to exert
own
prerogative of decision.
are
legible'! in
We
see
anonymous
critics,
whose ignorance and malice

scribblings,
every line of their unnecessary

,
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,
for
which seems
to call loudly for the interference of a
Censor:
is
why
if
should a mendacious attack upon private character be visited by the

the gross disparagement of works of Genius be permitted? which
is
law,
the greater libel of the two ? in both cases the falsehood
sure to be expo-
sed sooner or later; but"

in the
who
shall calculate the evil that
may have been done

detraction are but
ill
mean while ?
the grievous
wrongs
inflicted
by
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

ring?
and whose only
intuition is that of lying
and slande-
Beethoven had^many adversaries during
his life
some
of
them even
went so
far as to
compare the bold
flights of his
herencies of delirium
imagination with the inco,
his
music was called extravagant, bombastic

difficult
far-
fetched, obscure, preposterous]*
of execution, utterly unvocal,
etc
He was recommended by some

and rather
to
critics to
study the works of defunct masters,
aim
at a successful imitation of
them
than to cherish the vain

the public.
hope
of seeing his
own
;
crazy phantasies admired
by
Those who
broken
belonged
to the old pedantic school of criticism
blamed him
for infringing the
rules of counterpoint
others
condemned
his irregular
rhythm ,
!
his
cadences, sudden transitions, and unheard-of modulations

that his
others complained
works were sadly
deficient in melo<i$'! In fact
Beethoven's music
could
had long secured the favour of the Public before the

their
to
critics
at
make up
minds
to praise it; these learned

its
Thebans were
length
compelled
acknowledge
high pretensions, and having once seen the necessity-*'
of this,
they began to extol as masterpieces of Genius the very works which
*)
The noble monument
of
Mozart
at
Salzburg was ferected
50 years after
his death.
J'$$
SO

to
they had formerly declared

ever likely to be
a tribunal
, ;
be
total failures
Thus
it
was, and
is,
and
is
Ignorance, Arrogance, and Mediocrity
make themselves
Absur-
before which Excellence, Genius, and Learning are called up like

,
delinquents
to receive their sentence
well
may
Schiller exclaim
,,
dity, thou art victorious!"*)
do not mean
to enter into a
minute examination of Beethoven's works, but

that subject,
few more remarks, bearing upon
may
first
not be out of place here.
The very
partial success of Fidelio"
(when
produced) had undoubt-
edly excited a feeling of jealousy in Beethoven's mind towards the
poser of the Freyschiitz
which he vented
at the
time
Comwhen Weber was

in.
superintending the performance of his ,,Euryanthe" at Vienna,

expressions like those already quoted
feel himself justified in saying that
(v.
sundry
p. 16).
Beethoven could not, however,

to
Weber began
learn too late for Art to
develope
itself fairly in
him. Beethoven began quite as late as
Weber,
for
he was turned 22 when he commenced the study of Composition. At that

time he was nominally a pupil of
J.
Haydn's, who, for
some unknown reason,
neglected him and suffered the numerous faults in his exercises to pass uncorrected.
Under Albrechtsberger he evidently gave

terpoint, but he never loved
it,
his serious attention to
coun-
and was never fluent
in its resources. This

;
must be regarded, on the whole,

nies
as a fortunate circumstance
for
had Beet-
hoven been a great fuguer-writer he would not have produced

!
his
,
Sympho-
There
is
something
in the very nature of the
Symphony
the great or-
chestral Fantasia,
which
is at
variance with the sour severity of counterpoint.

is
And, moreover,
Orchestra.
It
the Sonata
to the Pianoforte
tha|i
what the Sinfonia

,
is to the;
must not be supposed
Beethoven
;
even in the earlier
stages of his career,
met with nothing but
injialtice
on the contrary, he was

,
fortunate in finding several very influential Art-journals

of intellect, far-seeing,
governed by
men
and devoid of prejudice,

great firm Breitkopf
(e. g.
the Leipsic Musical
Journal**), published
by the
and
HSrtel) disposed to lend

their, able
him
their full support,

;
and give him the advantage of

and a
and kindly
criticism
of this
number were&ochlitz and Fink,

original thinker
the latter one of Beethoven's
warmest admirers, an
.('
fine writer.
all
Such critics
as these
sic
omnes I) deserve the thanks and praise of

of Genius
,
who
can appreciate the
works
which they present
in their
proper
light to the
world
and
shield, with a sort of parental care,
from the envenomed darts of Detraction.
*)
is
,,Unsinn, diisiegst" v. Jungfrau von Orleans; the above remarkable passage

letters.
,
quoted from one of Hegel's

**)
Which sadly degenerated and ceased
to
appear
at the close of
848,

So much has been
review them again in
last
81
which,
to
written about Beethoven's Symphonies,

it
taken collectively, are his greatest works, that

detail.
would be superfluous
,
Even
the ninth
Symphony
with Chorus in the
movement
has
now been
so frequently and magnificently performed in

that its peculiarities are well
lis
Germany, England, and France,

it still
appears a moot point
adhuc sub judice

more apparent
est
known but whether the Com;

1
poser's deafness did or did not exercise an influence over this

as over several others written during that period)
injurious.
work
(as
well
as
which may be regarded
Let us examine the
facts:
Common people canevery
not readily understand the peculiar power which

possesses, viz. that of creating
real Composer
music without the
aid of an instrument, hear-
ing every note of
it
with his
mental
ear, and being thus rendered indeto those
pendent of external sounds. This seems a dark riddle

similarly gifted
,
who
are not
but the
fact offers
an easy explanation of Beethoven's unim,
paired activity during his deafness

supposition that his latter
and
at
the
same time demolishes the

less
works would have been

the Mass in
complex
is
(or,
as
some
would say
obscure) had he been able to hear them. There
another and
very different reason
why
the ninth
Symphony, the Quartetts
dedicated to Prince Galitzin, the Quartett in Cminor, the Variations on a
Waltz-motivo of Diabelli's,
etc.,
are
more
elaborate, less melodious, at times

,
approaching nearer to the confines of eccentricity, than other works
of the
same
class,
which Beethoven produced while he
still
retained his hearing,

is
or at least while his deafness
was yet
partial.
The reason
briefly this
Beethoven, as he went on, and his
intellect
and genius were matured (losing,
by
that very process,
some
of the luxuriant verdure of youth) altered his

larger,
views of Art considerably: they grew

of the Beautiful began to be
wider, and
loftier,
but his love
merged
in that of the Great,
is
should say the

;
Sublime
did
not attach a very peculiar meaning to that word

in
for
doubt
whether the true Sublime can be found
any of the above-named works.

a vast strength of
The
strongest characteristic of Beethoven's finest music

his flight is that of the eagle,
wing;
but he
broad, rapid, bold, cloud-piercing;
knew
little
of the angel's floating
pomp/'
in.
his
mind was not filled with

to the
that sacred enthusiasm
which
is
so palpable
the conceptions of Milton
and Handel, and which bore them, as on seraphic pinions,

of Sublimity.
his Oratorio
It
very throne
to
may be
his
that
Beethoven's want of belief in theology gave

is
and
Masses that secular colouring which

pathetic
,
observable, in
them
he
is
often both tragic and

,
as in his funeral
marches
the
Overture to Coriolanus
delio,
and many passages in the music of Egmont und Fi-
there
is
true solemnity in the Introduction to the
Mount
of Olives,"
and
in the last chorus, Hallelujah," there is
such
a glorious fire
and intensity,
518

if
that
Beethoven ever
attained to the Sublime,
it
is
in this instance.
,
There
many who confuse the terms Magnificent and Sublime therefore call the last movement of the Crainor Symphony
are
and who would
sublime; the im-
perfection of language makes
it
difficult to define
these shades of distinction,

viz. the
but the truth perhaps
may be
that there are
two kinds of Sublimity,
human
in
and, the superhuman; the former will be found splendidly exemplified

in the
Beethoven's song in questa tomba,"

to
Adagio of his Septet*

in the
the
Overture
Leonore
(No. 3)
and the March, with Chorus,

is
Ruins of
Athens." The
Sinfonia pastorale
all
most genial of
of the
his
in
works.
perhaps the most perfect and the

to
it is
Nature set
music.v The
.
first
movement
Symphony
C minor,
,
of theEroica, and of the choral ^Symphony,

,'
may
well be styled inimitable

of those
and surpass
in
Symphonies
which
is
my
opinion
the other,
together with the Pastorale
movements
are the finest
ever yet written. There
more
sterling stuff in these than in the
Symphony
4.,
in A, in spite of its noble
Andante;
the others, viz. No.
though rich in beauties, are undoubtedly inferior

less spontaneity,
1.,
2.,
and
8.,
they display less energy,

and/)) are also tinctur-
and
less poetry; the \.
and
2. (in
ed with the style of Haydn and Mozart.
Much might be
struction of these
of the Scherzo,
said concerning the instrumentation and the inner

,
con-
works
especially with regard to Beethoven's frequent use

etc.,
and of variations upon the motivo of the Andante,
which
would not be
entirely out of place
hgre; but
never intended
to
enter into
points.
minute criticism t and every musician will form his own opinion upon these The judgment of the Public is now but little influenced by any written discussions
for his
,
and follows
its
own
instruction
why Beethoven's
;
own
bent.
It is
for the Artist to find out
ninth
Symphony
is
not such
^favorite as several of the others

vanni or Der Freiscbutz
;
why Fid'elio
Mount
is less
popular than
Don Gioof at-
why
,,the
of Olives" is far less generally

its
admire4 than the Creation;"

traction
why
is
;
the Adelaide" retains
power
undiminished
and what
the subtle
charm
residing, in Beethoven's
Symphonies, Concertos, and Sonatas
a charm that has, hitherto, placed them
beyond successful competition. The
latter
question
will,
indeed, find a ready
answer from those who are capable of distinguishing between genius and
talent,
between innate grandeur of thought and
strutting
bombast; between
the estro divino of the real bard, and the strained efforts and dry lucubrations
of the false one.
Beethoven's admiration of Cherubini's music decreased

rably
forît
,
very conside-
during the later years of his
life
but he
still
entertained a partiality
for
which reminds one ofByron's singular fondness
Pope, or Napoleon's
preference of O^sian to Shakespere.

But for these and similar instances of a strange prepossession
it
35
would
seem incredible
should have
felt
that the fiery,
imaginative,
rule-contemning Beethoven
much sympathy with the cold,
correct, unimpassioned,
though
often graceful effusions of Cherubini.
^
disdaining to
,
Beethoven belonged which

is
to that primitive class of great

life
German Composers
now
nearly extinct; he led the
of a real Artist,
accelerate his fame
by
intrigue , flattery,
and backstair influence
forming
no clique
rivals
,
of prejudiced admirers,
bound by oath
to the vituperation of all
-*- preferring solitude to notoriety , shrinking
mage,
above
aiming
all
,
even from public ho-
at future immortality rather
than present celebrity;
and
drawing his inspiration from his
own abundant
fancy instead of
to
borrowing the thoughts of
his predecessors, or
endeavouring
hide poverty
of invention under the mantle of pedantry. Beethoven's learning

great as to oppress him, nor did he use
it
was not so
The display
as a make-shift.
He had no stereo-
typed forms and phrases, no excessive mannerism, no

of his executive skill, as a Pianist,
affectation.
was confined
to use this
to that early period of his
career
tion
;
when
as
necessity compelled
it
him
means
were
of acquiring reputain
soon as
was
possible for
him
to
do so he appeared no more
that capacity.
The
plaudits of a saloon or a theatre

vanity.
of small value in his

variations
eyes
for he
had no
He was
often obliged to
compose
and
such
for
like fashionable pieces,
because the publishers offered him higher prices

;
them than
for great
works
but he wrote those bagatelles with great ra-
pidity,
and only when he was in want of money
a case which the extravagance
of his
to
nephew
life
(to
whom
he could deny nothing), as well as the depredations

exposed him, rendered somewhat frequent.
to Art,,
which
His
his carelessness
was devoted
but he was too proud and had
tocmuch
1
self-respect to seek the worldly advantages of fame

lations of the charlatan.
by the
tricks
and calcu,
Of
this
noble stamp were
all
great Artists and Poets
and so
will they ever be. In spite of the
somewhat
ostentatious funeral
it
honfact
it
ours which the Viennese accorded to Beethoven ,

that they attempted, in that
is
an undoubted
way,
to
atone for
much
previous neglect; had
not been for the generosity' of the three noble persons

sion,
who gave him his penletters transla-
he would often have suffered actual want. Some of his
ted in this volume appear to have been carefully selected on account of their
alluding to
some pecuniary
transactions with his publishers

I
and one of the
dialogues suggests the same idea. But
have heard a different story from

that,
some
of
all
of his personal friends, and
know
besides the precarious nature

,
remuneration for works of Art , Beethoven received

It
upon the whole,

the last
very inadequate reward for his labours.

three years of his
life
was only during
two or
that
he could be said to have been well paid. No
54
German or
this point

foreign Prince thought
C.
,
it
neoessary to give him an order, and in

received'ino decoration, while
,
he resembled
M.
v.
Weber, who
his colleague at
title
Dresden
the Maitre de ohapelle Morlacchi
rejoiced in the
of Chevalier!
Beethoven was not even presented with

little
a doctor's diploma
certainly
he had
,
need of such a
title
and would very probably have

,
refused
stance
,
it
but
it
is
remarkable that no German University (the one
for in!)
which converted
the Pianist Herr Franz Liszt into Dr. Franz Liszt

title
,
should have had the grace to offer the

remained, without any handle
This great Composer
existence almost forgotten
his
,
to
Beethoven
neglected
and
,
so he
to his at
name simply Ludwig Van Beethoven !

totally
was
one time
and his very
while Rossini was the theme of every tongue and
music resounded
in every
house
at
Vienna
Such
is
the discernment of the world in general

all
Bononcini , PicCini,
Sameri, Rossini, and Spontini could
boast, with perfect truth, that they
were once preferred

In the year
to consult
to
Handel, Gujck, Mozart, Beethoven, and Weber. But

all
time makes the crooked straight, and reconciles
inconsistencies.
1833 a meeting was held
of the respectable citizens of Bonn,
about erecting a public monument to their illustrious countryman.
Principal
members
of the
Committee were Professor A.
W. von
Schlegel,
;
Professor Breidenstein and Walther , and Count Fuerstenberg-Stammheim

the learned Schlegel
was
elected President
but soon resigned the
office,
which was then accepted by
Prof. Rreidenstein.
A
;
subscription for the expenses of the
monument found
a ready reof
in
sponse a Commission of connoisseurs was appointed to decide upon one the many models sent in for approbation that of the sculptor M. Haehnel
;
Dresden was
**-
fixed upon, at the price of
10,640 dollars (about 1600).

the Minster-Square at Bonn) the
The
entire
monument, (which stands to

(an admirable likeness)
in
,
statue of
Beethoven
,
the pedestal
and the beautiful

,
Basreliefs
were cast
bronze by the famous Burgschmiet
in Nuremberg,
,
who
executed the fine statue of ,,Albrecht Diirer" in that city
and also the
colossal Bavaria" at Munich.

It
was determined
to celebrate the inauguration of the Beethoven-monu,
ment by a grand
were many
jesty
Festival of three days' duration

visitors,
viz.
the 10.
and
2. of
August 1845. The concourse of

of the leading artistic
Victoria
was immense, and amongst them and literary celebrities of the day. Her MaConsort Prince Albert, His Majesty
Queen
and her
,
illustrious
Frederick William IV.

of Prussia
,
King of Prussia, and the Queen of Prussia ; the Prince

,
the Archduke Frederick of Austria
the
Duke
of Anhalt-KSlhen,
the Earl of Westmoreland, etc. etc. honoured the ceremony with their presence.
The musical performances consisted of three grand Concerts,
in
which

were given
Mass
(with a very powerful and excellent Orchestra
55
and Chorus) the
following works of Beethoven:

in
The Mass
in
C, the ninth
Symphony/
in
the
(conducted by Dr. Louis Spohr), the
Symphony
Cminor, the
Pianoforte-Concerto in Efy, the Introduction (or Overture) and two of the

vocal pieces from the
Mount
of Olives," the Overture to Coriolanus, the
canon from Fidelio, the string-Quartett \nE\f, the second Finale from Fidelio,
the
,,
Adelaide," and the immortal Overture to Egmont.
grand banquet and

festivity.
a brilliant illumination of the
town concluded
this
memorable
The Monument worthy

to
is
in every respect a lirstrate

:
work of
art,
and not un-
bear the name of Beethoven
Who
so sepulchred in such
for
pomp
doth
lie,
That kings
such a tomb would wish
to die.
H. H. P.
, ,
The Hymns
Miserere", ,,Ainplins", Libera",
4ung
at
BEETHOYENS EITNERAL,
on the 29. March 1827.
Miserere.
(The words adapted to the music of Beethoven's Manuscript by Ign. von Seyfried.
Andante.
Tenore
m
Mi-se-re-re
Ach, erbarme
me
SchO
i,
pfer,
mt-seach, er-
Tenore
2*,
&eSe
Mi-se-re-re
Ach, er-barme
-=-py
me
SchO
pfer,
mi-seach, er-
Basso
mo
gg
gg^
Jlfi
g^fee
me
- se-re - re
j-se - re
Ach, er-barme Scho
pfer,
~ST-
ach, er
-*
-re bar-me
Wâ
Mi
- se - re-re
3?
me
SchO
Ach, er-barme
pfer,
mt-seach, er-
i
Pianoforte.
&
-*-
iXW
mm
m-
te*
57
THE HYMNS.
^ $m=^
=#
me
- i,
*=
us,
pfer,
=1=4:
qui
^fe
fesfe
g
fefc
re - re
De
bar -me dich, mein Sokd
(iu bist
-se - r#-re me-i, ja des Mitlej
re
F=P re
=1=
me
djch,
,
- 0=t=l=
De
.-
bar-me
mein Scho
s, pfer,
-k#rae
S
*
mi-se - re- re me - i, du bist ja des Milleids
M
,
Debits,
dich,
mein
Schopfer
wi-se - re - re du bist ja des
me
Mit
leids
fc'=^| t^fc;^ TST

re - re me'- i, bar-me dich, mein
SÊzE
pfer,
De
Scho
-t mi-se du bist
:f
re -re me-i,
ja des Mitleids
&
fc3=
IeP
De
Quel
MS,
mi
^
*,
1
^
Af
=
=*==
R=
pv iCqt-g3=t
ft(-
-|SZ=
se-re-re
me
Scho'
pfer,
le,
acl, er-barme,
#2-
-*#4S,
^^c
me
Scho
t
De
Quel
m-se-re-re
ach, er-barme,
se-
le,
pfer,
^&SEfe
De
Quel
ms
,
>
-I*
=E
!=*-
mj
- se - re-re
me
Scho
se- cun,
IS
ey
du
le,
aeh, er-barme,
-(
pfer,
du Born derDursten-
m
De
M=
22=
us
le,
30=E
mt -
(i"
mmme
Scho
t
se - re-re
Quel
ach, er-barme,
pfer,
p"
35;
*r
-#
__.
SE
laj..>_
=s
Beethoven, Studies.
29

38
THE HYMNS.
fcÊfei w^WZ
se-cun-dum mag du Born der Dur
5=
nam mi
- se - ri
cot
di - am,
,
mi-
stenden, Hort der Ver - las-se-nen
du
-
mp
Se
dum
den
se
ûu^Jte^fet
cun - dum Born der
Btnt
x=t
=-
mi-
mag
Dur
nam mi - se - ri cor - di - am, sten-den; Hort der Ver - las-se-nen,
du
-&mag
and
nam mi
Hort
- se - ri - cot
di - am,
JB
mi-
der Ver
las-se - nen,
du
j
da
5
se - ri -
->-*
2C
mi,
cwndMmmofl'hom rot Born der Durstenden,
cor-di-am,
las -
der
Ver-
se- nen
du
ib^fe^=M lEfc^
=feJS^
i
.
EfeP=^
rt-Êfeil 3t=t=
se - ri bist des
^
=P=f
:
s
S=t:
"^
j2L
=gfe
mi
des
se ^ ri -
2E
cor-di-am
tu
cor-di-am,
am,
le,
<F
j~
se - ri
&
Mit-leids Quell,
Mit-leids
ein-zi-ge Quel
g^
di - aro,
,
- cor -
mi
des
- se - ri -
cor-di-am
ein-zi-ge
tu
am,
le,
fe
se -
bist des
Mit-leids Quell
cor-d-oro,
Mit-leids Quell
^S
roi
,
Mit-leids
Quel
=P?
sz
tu
- se - ".- cor-di-oro
Mit-leids
am f
le,
bist des
des
ein-zi-ge
Quel
_2_
>lgpgEEgE
se -' ri
~J2L
cor-di-am
bist des
Mit-leids Quell,
- se - ri des Mit-leids
mi
SE ^
-*=~4-&tu<
-
cor-di-am
ein-zi-ge
am,
le,
Quel
fî
AS
ss
35t=Sfc
3C
PP 'Vm
2fe3t
BE &-T&-
ff

THE HYMNS.
S9
S-
rfc
-0-
t=t
mi-se - re - re me-i,
rgg
De
us,
,
ach.er-barme dich, mein Scho - pfer
ach, er -
mi-se- re-re barme
gfe^^^rf
*BE=Ef
mi-se-re - re ach, er - bar-me
4=
=i==t
mi-re - re - re me - i , De - us ach, er-barme dich, mein Scho - pfer,
=ee|=S
mi - reach, er-
me
dich,
-
i,
De
Scho
mein
us, pfer,
_c"
mus,
}=t=t=tr
mi-re -re -re me-i De ach erbarme dich, mein Scho
4=
pfer,
Ife=E
/
^t^g:
w
E
mag
SE ?J==piS& r
5 se
^
^=t
me-i
re -
=*=
"22~
*
nam
dich,
fp^
W-r-
=^mi
des
- re - ri -
EEE
cor-di-am
-
cmj-dwm
dich, Vater, ach, er
bar-me
Mit-leids ein-zi
ge
:=c=3 g^^-i
m' - re
^SeeS
me
re, dich,
^>re
mi-se
m
:
ach, er - bar -
- ri - cor- di - am des Mifleids ein-zi-ge
-feS
re - re
*3=S=f=HEEZ=t
cun
me-i
re -
dum
ter,
bar-me
dich,un-ser
Va
mi - re - ri - cor- di-am dqs Mit-leids ein-zi-ge
=- =R?
Fff^
me
Va
3
- ter,
i
feS
mi
- se - ri -
-(Si-
mi-se - re - re ach, er - bar-me,
cor-di - am
dich,
des Mit-leids ein-zi-ge
(i
B=eS
25*

60
fc-
THE HYMNS,
fffll^P^
tu
= fefefed
am,
,16,
Quel
m^
cun bar-
se
er
cun -'dum me bar
mag -nam
dich, er-
&%$
tu
3=*=*^
am,
le
,
raS
se
<fom
'
ma;
dich
nam
er-f=-
Quel
ach, er
me
Sî
=p
to
=*=*
am,
le
,
se
Quel
ach, er
cun bar
sJ
dum
mag
dich
nam,,
,
mag-nam
-
me
er
bar
me
SE
tu
am,
le,
Quel
s
J=&
3
cun - dum bar - me
mag-nam
dich, er-
Isg
^r
-~
-&
fag
*-4 ^
mj
- se - ri
cor - di gii
li
am
tu
am I
ter!
bar -
me
dich,
- ger
Va
Wfmi
1=$EEE= *
- \e - ri bar - me dich,
cor - di -
am
tu
go
ti
- ger
Va
ami
ter
I
trr-
HE
mi
dich
=f=t
- se - ri
-
cor - di gii
ti -
am
ger
tu
am
un
- ser,
Va
terl
,
mi
bar
- se - ri dich,
m
me
cor - di - am gii - ti - ger
tu
ami
terl
Va
Im
Vgr
pp
Se

THE HYMNS.
61
a.
Amp
Poco sostenuto.
1 1
Tenore
5tt 2
n
dole.
-&-**
'
&~
-4.
&^=^=Ê^
la-va me ab i - ni- qui-ta- te Va-ter mich, nimm von rair dieSchuld der
ab la - va me i - ni - qui -ta - te Va-ter tnich,nimm von mir dieSchuld der
Am-pli- us
Rei - ni-ge,
Tenore 2*
wn *
^Ê3=&S=e==ee
la - va me ab i - ni - qui -ta - te Va-ter mich, nimm von uiir dieSchuld der
Am-pli -us
Rei - ni - ge,
Basso
l nl
g^^^î^^fe^^^
Basso 2 d0
i^^
Am-pli - us
Rei -ni-ge,
Am-pli -us Rei- ni-ge,
va me ab i ni - qui -ta - te Va-ter mich,nimm von mir dieSchuld der

la -
S&ps
^
mun-da mehr auf
mun-da mehr auf
o ste
Pianoforte.
^^^==^^^==^^===^^ & tzEÊEz^^^f^ÊÊ^ pgg

me
Siin
a de,
et a pec dass kei-ne
ca - to Un-bill
me-o
la-ste
<s~-
me
Siirt
a
de,
m& m
rsn
me
Sun
4= t=t=t g^gBgrg^g
-s>
et pec a dass kei - ne

-,
ca-to
Un-bill
me-o
la-ste
&<&-
a
de,
&eS S
me
a
Siiu
et a pec - ca-to Un-bill dass kei-ne
me
la
'mun
mehr
da auf
3ErIE EiS
o pec dass'kei-ne
et
de,
ca - to Un-bill
me-o
la-ste
S3^
mehr auf
fe
3
^
- rr sB33
3=3=
**
3=^=^ 7
jy
ggsfafe
fesbs
Is
9p
te? ^ ^f f
!!
62
THE HYMNS.
afefc__^_L .'
me
mir,
^fff^
et
von je-der
a pec - ca - to, a pec - ca Sun-de, je-der Un
to
bill
** ra=SEE^^t
me
mir,
et
*
".fe-
ggg^g
to
bill
^s^-
a pec - ca - td, a pec - ca vpn'je-der Sun-de, je-der On
^^ ^
-\
:f=zt==t
me
mir,
o pec-ca-to, pec-ca-to von je-der Siin-de und je-der

et
me-o,
Un-bill,
^^
pec-ca-to
von Stinden
ite ffi=fttJf=E
me
mir,
-rf
=*
me-o,
Un'-bill,
|g^ P
*
//
et o pec- ca to, pec-ca-to von je-der Siinde und jeder
pec-ca-to
vonSiinden
r
>-
Sfc '^St-^-^rjh w
=P=P=
I I
V'<'.
,
ggspEfa|fc^
/
^
ter,
^
me
I
p.
=A
rtf^=g=gE=
me
o
rei - ne,
_KU
mun -da
Va
-
mich
--=-
m^-=^=^^^^
me
rei
o ne,
mun
Va
do
ter,
me/
mich
1
HeS; w
me
-~
o
I
da
mun
Va
-|S->
me I
mich
rei - ne,
ter,
ife^
rg
3C
- do
ter,
me
I
//
- o rei ne,
man
Va
me/
mich
^f
^
#*!*
63
THE HYMNS.
Libera
(sung during the benediction of the corpse).
(Composed by Seyfried.
Tenore 1
1^^
_2_
JV
+=
Ie
li-bera de
as
Li-bera me, Dom'me,
morte ae-ter
Tenore 2 d
^^
]t>_
fp_
t=t
li
- bera de
i - 6era me, Domine,
morte- ae - ter
Basso
m$E&^^S$tz
Li-bera me, Domine,
"
fp
li-bera de
morle ae-ter -
s
li
JE
Basso 2
rt
JJL
~Xrli
IfeEgSJ^
-M
bera
*-
t=X
de
S
morte ae
- ter
(St-
Li - bera m, Domine,
men
PMf^t
ra
-(2_
-1=2
t=t
di - e
il
fc
coe -
- la
Ire -
da,
quando
mo-
teSS^SEE
in
di - e
il
3t=t
men
_d2_
da,
it
S
mo-
la tre -
quando
coe-li
tesSESEE
na
t
di
e
s>
da,
e> #
=t=t=t
coe-li
mo-
g= n HEEEEg
in
>~pgi
di - e
^
il
- la tre
men
quando
7|5~-g2T
*=t=t
men
da,
i/
2u ire -
guondo
coe-Zs
mo-
64
THE HYMNS.
EEf^
ve-<K sMnt
et
3C
ter
'/
^S
ra,
(ton
tie-e-ris
Wz -p/4=t
3i
ei
ter
=*
item
E
ve - ne-ris
wn-di swni
gj^^gg^Sfeg
edi sunt
et
3C
ra,
dum
ve - ne - ris ve - ne- ris
ter
mf
=t
=t
sunt
fc=fc
et
zz^zWW
ter
enrte
dum
EJ^^^gjgÊEEqEgÊÊ^^
ju-di-ca-re
sae-cu-lwm,
ju-di-ca-re
sae-culumper
ig
PfcnF PPP
J=*
pp-^=t=H
=P=t
sae-cu-lum,
=t=t
p p
=s=f. r-ri
f-
ju-di-ca-re
ju-di-cfy-re
sae-culumper'
ig
It
Jte-MZZ&Z =t
sae-cu-lum,
* E3=t
sae-culumper
ig
ju-di-ca-re
ju-di-ca-re
S=
ju - di -ca-re
Sgg
sae-cu-lum,
ju-'di ~ca-re
$=t -*#%te-culum per

ig
k
nem.
I(S!=HSZ
*=p*
Tremens
ZpZZZJS.
fcg=
sum
S
e -
fffE
et
.
fac-tus
go
ti-me-o
dum
discus-si
-o
Ifc
X-
Tz%
gfegfeeSES
et
Tremens
-
fac-tus
sum e-go
ti-me-o
dum
discus-si -o
Itt
fac-tus
SeeS=E^
sum
e-go
et
PrP-
nem.
Tfemens'
vp.
g>
&Z
fac-tus
ê^s^gg
sum e-go
et
ti-me-o
dum
discus- si -o
nem.
Tremens
ti-me-o
dum
discus-si-
THE HYMNS.
hp-T-W7
^
65
lfEgBEfg^Ê^'
ve-ne-rit
,at-que ven
tu
^
Quando P 'Ofszzi^fyz
W:
'-t
^p-^^TÊ^k^
at-que ven - tu
Ghfcc=tz
E=~
ra.
ve - ne-rit
Quando
P
fr
--
gE^gEEEg=g
at*-que
ife
ra.
F-
Quando
S<S>
ve - ne - rit
ven - tu
ra
m iûvj iy=fe4-^ J y a
i
_(2~
|P-
5t=t
ra.
ve - ne - rit
at-que ven
- tu
ra
Qwando
fi=SE=^^ffi
coe pzrZi
mo
- et-di
smij
et
<er
IM
coe -li
--r'
mo
- ven - di sunt? et
:'.ier
w
co - la -i*-
ISO
M^
ro. ra.
Eg
Z)j
-S
Di
PiiSEES=fe
coe
3C
et
HiS
Di es
-U mo-ven-di
sunt
ter
feEEEESEEEEEEEE~
coe
li
ISC
ter
mo
ven -
di sunt et
ra.
Di -
es
:i 2=t
iZ
HEE=ÊÊga:
*
- 2a,
di - es
mi
ta
et
mi-
>f
-i
=F^
i-
EE3EE1E
=ee*
mi
- to - Ms
et
s7
- to,
di - es
roe,
co - to -
mi-
Se
ii
i^zr^c
d
I-
BÊEEEEjEEJEBEEf
i
rt
mi-
to,
di - es
- rae,
ca -la - mi
to
t-
tis
et
fi^
to,
Jt
e^ÊeEEEfe^B^
t
di
es
roe,
ca - la -
mi
ta -
its
et
mi-
66
ffc
~.*
^
ae,
oe,
THE HYMNS.
4=
di
3^
mag-na,
mag'-wo,
^
mag-na
g^^"^fe^^^fe|^^^^
di
mag-na
&=gl =
l
5=E=
^m
mag - na,
-&*di
-&=?-
3=t
mag-na
a=f=Ê^gE^
se
ft
ae
di
es,
4==t es mag
w
na,
mag
- na
m^F-rr?z?EHE
di-es
et
mf
^^3=^
dum
ve-ne - ris
ma-ra
-P&-h
val
de.
m==*=t=^
di - es
et
~jBZ
-I
fc
dum
-=-&ve-ne -ris
-E=E3=
di - es
et
^
ma
- ra
ma-ra
val
de.
^-j
'&:
:t=l
val
ve-ne -ris
ve-ne -ris
a -
di es
*
et
m
a -
dum mf
feEK
ma - ra
val
de.
dum
WWz
fa^#
ju-di-ca-re ju-di-ca-re
ft ^=dfc 4=1=3:
ju-di-ca-re"
j=ffl%
sae-cu-lum per
-;
B.fels-.-
SE
sae-cu-lum,
ig1
ig
feEEEEEÊEl *
4=t=t=t
ju-di-ca-re
* t=
=t
ig -
sae-cu-lum,
sae-cu-lum per
S*&EE&&$$&&&E^
ju-di-ca-re
sae-cu-lum,
ju-di-ca-re
sae-cu-lum per
ig
SESEf
ju-di-ca-re
S3
sae-cu-lum,
rj i
3^=^fe=^
sae-cu-lutn per
ig
ju-di-ca-re
THE HYMNS.
fezfÊEESsadSe
E:
Be
-t)fg
t*
*=t
gw'em
^c
ae - ter -
m.
^
E
i
s
do - na
67
mam
do - na,
Z&c
EEEE^:
do - na
^m
nem.
Re
quiem
F
Re
ae - ter -
nam
do - na,
^
ae.
Y^7
- ter -
tt=fP=
quiem
nam
jvjj
quiem
&yîg
nam
^^
do - na, do - na,
i
do - na
ae - ter -
do -
na
r^
IJ
et
J.
el
is
Do - mi
- ne.
lux per-pe-lu-a,
lux per-
IE
m*&^Trf
is
&&=*****=t
et
^3^^^^^^^^^
is
Do-mi-
ne.
et
lux per-pe-tu-a,
lux per-
Do-mi-
ne.
et
lux per-pe-tu-a,
et
lux per-
ff
:J==t
3=t=t=t -= m m
m-
4=
et
Tlux
per-
Do-mine.
et
lux per-pe-tu-a,
pBE&ÊÊgEEjE&m E
pe - tu-a
lu -
=t
pe - tu
ce-at
e-is,
et
lux per
HÊE3Efe
pe
3
lux per
et
3=3pe - lu
tu-a
lu- ce-at
e-
is,
^feS^fe^SESS
pe
ESE
-
-tu-a
lu -
ce-at
e -
is,
lux per
pe - tu
fe^gg^gn=^jtîj^
pe.-tu
-
Eg5jp;
a-
lu- ce-at
e-is,
et
lux per
pe - tu

68
*
THE HYMNS.
m=mrrwwrr=ffrr^ *
lu - ce-at
e
is.
Li-be-ra me, Do^mi-ne,
3^3=
IB
#-
fE$EE
&-frT3
Do -
lu - cerat
Li-be-ra me,
$=* -# 4=t
t*t
to - ce-af
^
e
is.
4SC*
Li-be-ra'me,
to - ce-ot
Domi-ne,
^
mi-ree,
y
i
jsz
-0&-
^=t=t
Do mi -ne,
Li-be-ra me,
^Ê^^fe^^^faE^^^H
-Zfe.
dt=Sz
be-ra de
mor-te ae -
ter
ds - e
i!
- to ire-
HE
Jj>_
li-be-ra de
li-be-ra de
-
-i
r-E
^=# iS^g
in
di
mor-te ae - ter
il
- la tre-
&=^&3Êm
=t=t*
mor-te ae
ter
-9T-&
t&-r-&
4=t=t
il
0-
aârt
U -be-ra de
=t=t
mor-te ae
z^:
ter
P^
in
di
in
di - e
la tre-
-fSL (2-
S
il
la tre-
fPE
men
}fr|>
.
-fefafe
<to,
*=5C
li
guondo
coe -
mo-ven-di sunt
'
et
ter
l-^-f^ b&^&5=fc
men
-*<
- da,
i i
-&
I
.l l
p TF^ ia
et
quando
e>
<s>-
coe-li
mo-ven-di sunt
ter
& :t=F
- da,
it
coe li
# *mo-ven-di sunt
ei
P^=f^
ter
it
iei
quando
-amen
da,
Vic
g
-&
i
t
## :z*ii= i
i-r
li
quando
coe -
mo-ven-di sunt
ter
K
THE HYMNS.
69
m
ra,
^^^F^^^^S^
dum
ve-ne-ris
ju-di-ca-re
sae-cu-lum,
ju-di-ca-re
^^^^êQeS_^t^^
dum
Z2Z1
-#,
3=t
ve-ne-ris
ju-di-ca-re
-f
sae-cu-lum,
ju-di-ca-re
*3rra,
.EK ;
dum
ve-ne-ris
*=t=t
t*~
S^
sae-cu-lum,
-pp p p=t=t=t=i=
ju-di-ca-re
ju-di-ca-re
^&
ra,
^=fe=fc
dw
3=*
r| -+^*-&sae-cu-lum,
iS3E
ju-di-ca-re
ve-ne-ris
ju-di-ca-re
(IgEgzEgEg
sae - cm - tern per
iff
S^
=1=
*=t
tei
sae
-
M
'3
cm -
Jwn yer
H
sae
-
fc *
cu - lum per
ig
*9
sae - cu -
lum per
CHORAL-MELODY
by
L. v.
BEETHOVEN,
sung over the Composer's grave,

March
29. 1828.
(The poetry by Franz Grillparzer.)
Tenore
l mo
p^^ feS^
dole.
Poco Adagio.
=t
Du,
-&-*
dem
nie
im.
Le
ben
Ruhstalt
Tenore 2 d0
H
dole. dole,
mdem
^p^-0nie
X
Le
=E
Du,
im
ben
Ruhstatt
Basso
l u,
mÊE
Du,
-a
im Le
--
4=
dem
nie
ben
Ruhstatt
Basso 2 d0
Bpe
dole.
-G>
-&&dem
nie
^
Le
z3'.
Du,
im
ben
Ruhstatt
te
Pianoforte.
dole
:r^r
m ~?~r~rt
-J%=st
^ rr
pfe =
--f-T
; ;
'^S=^=t^t
ward, und
THE HYMNS.
71
5EEEE
Ruhe
Herd und Haus.
t=M ^=
ward, und
Herd und Haus
1=
i
t:*.
^
nun im
Ruhe
nun, ruhe
H *Grab, ruhe
ward, und
Herd und Haus.

1
Ruhe
m m
P
j-
3Z
3l
P=F=t 4
m
nun im
t=
stil-len
re-
ward, und Herd
und Haus. Ruhe
Grab, ruhe
fr-t-
-s>-=-
^ffli^
r
r
a
-i
fTT' rn
*=t:
To -de
aus,
iEJlgg
pp.
i= I lEfeE
nun im
^ ^m
=t
^f
Gra-be
aus
m 9='-*
Eg^fei^p
mf.
t=
und wenn
still
im
'%=
JBE.
mf
'
=t
To -de
%z=iz=$zdg<z=#[fz +-'t -t=t

l
nun im
aus,
im
stil-len
Gra-be
aus
und wenn
HI^^^b^
nun im
H* =t=4
stil
P-i-P-
S
aus
ty<^
j
i-
To -de,
im
- len
Gra-be
und wenn
m
E
mf
EgEfeg
nun im
To -de
iac
aus,
TT== dfctl
still
;Se
und wenn
im
Gra-be aus;
1 ^s^ww^w^ a^ -&& * -rr

<-
m/
r
i
J J-T-lS'J-T-^-jl-1-J=?
-Jaî^:

72
THE HYMNS
P
,,
f^FfgBjb
Freundes
Kla
feEjEÊ^ggg
Freundes
Klage,
ge,
Freundes
X
Freundes
Kla
ge,
-p
-e=iz -\Freundes
Freundes
Klage
Jj^feobs
Freundes
Kla
I-
p
ge..
=-:=!
=t
Klage,
Freundes
Freundes
m&=
Freundes
Kla
=Freundes
i
Klage
-&L
Freundes
W=A
i r^^t
= =t=tF
*&
-~t
tei m
:
jp
H=
^__ie_
fefefeafcfeBi
Klage
reicht
ElEfE
horeh- eig'-nen Sangs
- ber's
Grabhinaus,
h
Klage
_^.__=^-=r
reicht
ii
k^
Grab hinaus
,
g_
- ber's
horeh eig'-nen Sang Sangs
Pffc^
Pg
3#:
^
Klage
iEB
reicht
.
fe
U,
ii
- ber's
ff=~
=-
z=3S:
reicht
ii
gj^#=*--^g^pî
Grabhin-aus,
horeh
,eig'-
=t
Grabhinaus, >.
gj.
i . i horeh eig'-nen Saijgs

,
- ber's
neu. Sangs
Pl^^^l^P^ppS
?*==
^fera ^s
|s>:
THE HYMNS.
75
9est==t=t
dole.
siis-sem Klang
..
.,.
halb
JPE.
...
er-wacht im
>
,., stil
len,
slil-len
Haus.
t-v
dote.
l==
m
*
SI-1-
:s
stil-len,
stil
ISC
-len
siissem Klang
halb
er-wacht im
Haus.
S*
'Id
dole.
J>P*
3=:=t
=1==:
halb
mm
er-wacht im
stil
* *=t
- len, stil-len
Haus.
m
dole.
3=
siis-sem Klang,
25b
halb
^
er-wacht im
stil
S
-s>-
-h-
- len, stil-len
Haus.
1
dolc.
-g _ ^ t.
^=
^
.-
t=v=r
g^-5
pp
3=t
tJsi
j^
-f
d
o.
Beelhoreu, Studies.
2 6
EXPLANATION OF THE ENGRAVINGS.
i }
The house
at
Bonn
in
which
is
L. v.
Beethoven was torn , situated

is
in
the Rhine-street. Another house
sometimes pointed out, but there

is
no
doubt that the one shewn in the engraving

2)
the real one.
An
Original sketch of the Âdelaide," facsimile.
3)
Facsimile of a letter in Beethoven's handwriting.
i)
View
of the house called the

;
Schwarzspanier
is
house, in the Alser
suburb of Vienna
it
was formerly a monastery, and

which has
is
situated at the corner

for
of the Wahringer-street and another

called the Beethoven-street.
now
some years been
The house
it
very large and used to be inhabited

a barrack, and there is a report
by
number
at the
of different families;
will
is
now
current that
it
soon be pulled down. The room in which Beethoven died,

of
and
window
which he often used
to stand
is it
distinguished
by
cross. This being the only picture of the

interest.
5) 6)
house extant,
will excite peculiar
Copies of the medals struck in honour of Beethoven.
Beethoven's tomb in the churchyard of Wahring, near Vienna; close
to
it is
the grave, and simple
monumental
tablet, of the
bert, and also that of Goethe's only granddaughter, died in her eighteenth year. Beethoven's
butterfly, lyre
,
Composer Franz SchuAlma von Goethe, who

,
tomb
is
of dark-grey marble
the
and name are

is
gilt
ah alder-tree covers the grave-stone
and
the burial-ground
so thickly planted with flowers and shrubs as to re-
semble
a garden.
CATALOGUE
OF THE COMPLETE
OF
WORKS
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.
(Esdur, Gdur, Cmoll), fur Pianoforte, Violine u. Violonc. (Bern Fursten Lichnowski gewidmet.) Dieselben in Parlitur mit Stimmen. 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):
1.
Srei Trios
Op. 2-
Ar
(Fmoll, Adur, Cdur), fur das Pianoforte. (I. Haydn gewidmet.) 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. :
Drei Sonaten
legt v. F.
W.
.
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.
Allegro aus No.
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
Fiir
v.
Klage.
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

Fiir
Fiir
(Fdur ,
G moll)
'
fiir
Pianoforte und Violon-
cell (oder Violine).
Arrang. Fur
(Friedrich Wilhelm II., KOnigvon Preussen gewidmet.) 2 Violinen, Bratsche und 2 Violoncello v. F. Ries.
das Pianoforte zu 4 Handen. das Pianoforte allein v. L. Winkler.
78
Op. 6.
L. van
BEETHOVEN'S COMPOSITIONS.
Eielchte
r r a n g.
(Ddur), fur das Pianoforte zu i Handen. Flete (oder Violine) v. Burchard. Fur das Pianoforte allein v. L. Winkler. Rondo daraus fur das Pianoforte allein.
Fiir Pianoforte
Sonate
und
Op. 7.
Grosse Sonate
(Esdur), fur das Pianoforte.
(Babette de Keglevics
1
gewidmet.)
Arrang. Largo daraus mit Worten

mit Begleitiing des Pianoforte. Op. 8.
(Ta'gwerk ist vollbracht) fur
Singstimme
Serenade
Arrang.
Violine, Bratsche u. Violonc. Dieselbein Partitur. 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).
(D dur),
f.
Fiir Guitarre, Violine
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.
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.
Fiir
.
Op. 10.
fin
Drel Sonaten.
.
(C moll,
F dur, Ddur),
fiir
das Pianoforte. (Der GrU-
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.

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
Agnus Dei darnach
Begleit.
des Pianof.
Menuett daraus
Dieselbe
'2
fiir
fiir 2 Violinen, Bratsche und Violoncell. 2 Violinen, Bratsche, Bass, Flbte 2 Oboen (oder 2 Clarinetten)
Hdrner und Fagott
v. Baldenecker.
Op. 11. Trio. (Bdur), fur Pianoforte, Clarinette (oder Violine) 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.
Grosses
und
Op. 12.
Drel Sonaten
(Ddur, Adur, Esdur),
fiir
Pianoforte und Violine.
(F.,A. Salieri gewidmet.) rrang- Fiir 2 Violinen, Bratsche
und
Violoncell.
Fur Pianoforte und Fldte v. L. Drouet. Fur-das Pianoforte zu 4 Handen.

Fiir
Andante aus No.
Winkler. mit Worten (Mir bewahrt Dein Busen etc) fur mit Begleitung des Pianoforte.
2.
das Pianoforte
allein v. L.
Singst.
L.
van
79
Andante aus No. 2
fur d. Orcb. v. Seyfried.
Rondo aus No.

Op. 13.
ebenso von demselben. Adagio aus No. 3 ebenso von demselben.

2
Sonate (pathetique,
Cmoll) fur das Pianoforte. (Dem FUrsten Lichnowsky
\ 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, Greulich. Ebenso mit Firigersatz v. C. Adagio daraus mit unterlegtem Text (Das Auge der Geliebten
.
gewidmet.)
etc.) v. Silcher.
Op. 14-
Znei Sonaten
Fiir
.
(Edur, Gdur),
fiir
das Pianoforte. [Dent Baron von

,
Braun gewidmet.)
Arrang.
No. No. No.
das Pianoforte zu * Handen. Bratsche und Violoncell. 2. Fiir 2 Violinen, Bratsche und Violoncell. 2. Fiir 2 Violinen v. F. Hartmann. Allegretto aus No. 1 fiir Orchester (zehnstinimig)
1
Fiir 2 Violinen,
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
Fiir
das Pianoforte zu 4 Handen das Pianoforte allein. Largo daraus fiir das Pianoforte
v.
/.
P. Schmidt.
allein.
fiir
Op. 16-
Grosses Qtiintett
Fiir
(Esdur),
Pianoforte, Oboe, Clarinelte, Horn
und Kagott.
Arrang.
das Pianoforte mit Begleitung von 2 Violinen, Bratsche und Violoncell.
Fiir 2 Violinen,, Bratsche

Fiir Pianoforte, Violine,
und
Violoripell.
Bratsche Fiir 2 Pianoforte von C. Czerny. Fiir das Pianoforte zu 4 Handen.

Fiir Pianoforte
und
Violoncell.
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, Violoncell, 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
Fiir
arr. v. Horrose".
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 Bratsche und Violoncell. [Der Filrstin von Lobkowilz gewidmet.) Violinen 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 Violoncell- Begleitung (m. op. 60) Fiir das Pianoforte zu 4 Handen v. Mockwitz. A
,
Ebenso
v. C.
80
Fiir
L; vAS.BEfiTHOVEN'S COMPOSITIONS.
das Pianoforte' allein
Vi
I<.
Winkler.
5 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.
Theme fav. mit iOVar.ausdem QuartettNo.

Rondo aus No. 6
fur.das Pianoforte zu 4
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.
(Esdur), fiir Violine, Bratsche, Horn, Oarinelte, Fagott, VioContrabass. 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. SchwenckeFUrPianoforte mit Begleitung der Flote, Violine. und Violonoell v.I.N.HummeL Fiir Pianoforte, Violine und Violoncell v. C. G. Belcke.
loncell
iirnl
.
Septet*
und Violoncell iind mil Op. 38 herausgegeben. Fiir Pianoforte und Violine v. Gleichauf. Fiir Pianoforte und Violoncell v. C. Burchard.
ifUr Pianoforte, Clarinette (oder Violine)
vom Componisten
arr.
zu 8 Handen vi G. M. Schmidt. oder Physharmonica und Pianoforte. Fiir das Pianoforte zu 4 Handen v. C. Czerny. Ebenso v. W. Marks.
Fiir 2 Pianofortes Fiir 2 Pianofortes,
Ebenso v. Fr. Mockwitz. Ebenso in 4 yerschiednen Ausgaben.

das Pianoforte allein Ebenso v. /. N. Hummel.
Fiir
v. C.
Czerny.
Ebehsbv.fr
Ebehso
v. .
Liszt.
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. 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
Menuett cavatb
(Schuldlos wie Veilchenbliithe etc.] iibertragen v. Christern.
Op. 21.
Erste grosse Symgtlionle

Fiir 2 Violinen, 2 Fur, % Violinen, 2
Fiir
(C dur)
fiir
in Parlitur.
*?
'
das Orchester. Dieselbe

v.
Arrang.
.
Bratschen, 2 Oboen und 2 liorper Bratschen Und Violonceil. 2 Viojinen,' Bratsche und. Violoncell.
F. Etters.
Fiir Pianoforte
Fiir
Fiir
Fiir Pianoforte,
Begleit. cler Flbte, Violine und und Violine y. F. W. Arnold. 2 Pianofortes zu 8 Handen y. G. M. Schmidt. das Pianoforte zu 4 Handen v. C. Czerny.
m.
Violoncell v.
/. JV.
Hummel.
L. van
'.
'
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
Fiir Violine,
(Amoll),
fiir
Arrang.
Fiir Fiir
Fiir 2 Violinen, Bratsche

arr. v. A. Uber.
und
Bratsche und Violoncell
Violoncell v. Heinzius. v. A. Brand.
Ebenso
das Pianoforte zu 4 Handen, das Pianoforte zu 2 Handen v. L. Winkler.

(Fdur),
fiir
Op. 24.
Sonate
Fiir
Arrang.
Fiir 2 Violinen,
Pianoforte,und Violine. J Bratsche und Violoncell v. Heinzius.
das Pianoforte zu 4 Handen. arr. v. Halm. Fiir das Pianoforte allein v. L. Winkler Adagio daraus mit Worten (Eleonbre) des Pianoforte.
Ebenso
fiir
eine Singstimme mit Begleitung
Op. 25.
Serenade
Fiir Pianoforte
(Ddur),
fiir
FlOte, Violine u. Bratsche. Dieselbe in Partitur.

v. Matiegka.
Arrang.
Fiir Fiir
Fiir Guitarre, Violine
und Bratsche
und
Flote oder Violine
vom Componisten.
das Pianoforte zu 4 Handen.

v,
/.
Ebenso
Moscheles.
alles Gliick)
fiir
,,
das Pianoforte allein v. L. Winkler. Andante daraus mit Worten (Du bist mir mehr als Singstimme mit Begleitung des Pianoforte.
eine
Op. 26- Grosse gewidmet.)
Sonate
(As dur) fiir das Pianoforte.
[Dem
Fiirsten
Lichnowsky
Arrang.
Fiir
Fiir 2 Violinen v. F. Hartmann. 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 v Cismoll Sonate Op. 27 No. 2.) Dasselbe fiir 2 Violinen, Bratsche und Violoncell. Dasselbe fiir, 2 Guitarren v. Carulli (Op. 155)
Trauermarsch daraus:
Fiir Orchester.
Fiir Fiir
das Pianoforte zu
v. /.
Handen
v-
F. X. Chotek.
Ebenso Ebenso
P. Schmidt.
allein.
das Pianoforte
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
fantasia)
fiir
una
Arrang.
(Esdur, Cismoll), (beide zugenannt Sonata quasi das Pianoforte. (Der Furstin LichtensteirMwidmet.) 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
Dasselbe mit unterlegten Worten fur Gesang und Pianoforte v. F. K. Griepenkerl. (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

Fiir
v.
/.
das Pianoforte allein
v. L.
P. Schmidt. 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.
das Pianoforte zu 4 Handen. das Pianoforte allein v. L. Winkler. No. 2 mit Worten (Grass der Seelenetc.) fiir Gesang und Pianoforte No. 3 fiir Flote,' Violine, 2 Bratschen und Violoncell (m. Op. 85.)
Fiir Fiir
v. Silcher.
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.
.
die Op. 32. (No. 32.) mit Begleitung des Pianoforte.

Op. 33-
An
Hoffnnng
(von Ti edge) fur eine Slngslimine
Bagatellen
4. Fiir
'
Arrang. No.
No.
Op. 34.
fiir
(7 pieces), fiir das Pianoforte. 2Tiolinen, Bratsche und Violoncell.
Ebenso.
Seclis Variatlonen fiber ein
Orlsinal-Thema
(Fdur),
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) stirame mit Begleitung der Guitarre v. A. Diabelli.
fiir
eine Sing-
Op. 35.
Op. 36.
Funfzehn Variationen mit einer Fuge

?
(Esdur), fur das
Pianoforte. (Dem Grafen Lichnowsky gewidmet.)
Zweite Symphonie
Fiir 2 Violinen, 2
,
Arrang.
Fiir 2 Violinen
(Ddur),f.d.Orcliester. Dieselbe inPartilur.8. Bratscben, Bass, 2 Oboen und 2 Horner v. F. Eber. 2 Bratschen, Violoncell (oblig.), Contrabass, Flote und 2
(ad lib.) v. F. Ries. Fiir 2 Violinen, 2 Bratschen und Violoncell. Fiir Pianoforte mit Violine, Flote und Violoncell v. 7.
Fiir Pianoforte
,
HOrner
N. Hummel.
Violine und Violoncell vom Componisten. Fiir Pianoforte und'"Violine v. F. IV. Arnold.
L.
van
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. Larghetto daraus fur Pbysharmonika und Pianoforte v. Lickl.
Larghetto daraus als Menuett fur Pianoforte.
Silcher.
Op. 37-
BrHtes Concert (C moll),
fur d. Pianoforte
rait
(Dem Prinzen Louis Ferdinand von PreussGn gewidmet.) Dasselbe Arrang. Fur das Pianoforte zu' 4 Handen v. /. P. Schmidt.
Rondo
Op. 38.
Begl. d. Orchesters. in Partitur.
Fur das Pianoforte allein. (Finale) daraus fur das Pianoforte zu 4 Handen.
(Esdur), fur Pianoforte, Clarinette (oder Violine) Violoncell, nach dem Septett Op. 20. arrangirt vom Componisten. .(Siebe Op. 20)
Grosses Trio
und
Op. 39 Praliidien Pianoforte oder Orgel.
Znei
durch
alle f
Dur-Tonarten
fur
(Gdur), fur die Violine mit Begleitung von 2 Violinen, Op. 40. 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.
Romanze
Serenade (Ddur), fur Pianoforte und Flote (oder Violine) arrangirt nach der Serenade Op. 25 vom Componisten.
(Siehe Op. 25.)
Op. 42.
Notturno
8.
(Ddur), fur Pianoforte und Bratsche arrangirt nach der
Serenade Op.
(Siehe Op.
vom Componisten.
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, Fiir Harfe

Fiir
Fiir
Fiir
Fiir
Fiir
und Violoncell v. /. und Pianoforte mit willkuhrlicher Begl, Pianoforte und Violine. 2 Pianofortes zu 8 Handen v. G. M. Schmidt. 2 Pianofortes zu 4 Handen v. C. Czerny. das Pianoforte zu 4 Handen.
das Pianoforte
8. fiir
JV.
v.
Violine
Hummel. und
Violoncell.
allein.
fiir
Allegretto aus No. 6.
2 Violinen, Bratsche
4
und
Violoncell.
No
das Pianoforte zu Siehe Op. 9.
Handen.
84
Op. 44.
Op. 45.
Violoocell.
L. van
(Esdirr), fur Pianoforte,
Vlerzehn Variationen
rei grosse
Violine und
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 GuitarreMit 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
F. Dolzauer.
v. R. E. Bockmilhl.
Ebenso
v.
/. /.
Fiir Flote
"Fiir
und
Pianoforte variirl.
Fiir Pianoforte
Pianoforte
und und
Violoncell.
Flote.
v.- Lickl.
Physharmonica und Pianoforte oder fiir 2 Pianofortes Fiir das Pianoforte zu 4 Handen v. C. Czerny. Ebenso v. Horr. Ebenso v. G. W. Marks.
Fiir
.
Fiir
das Pianoforte
allein v. Behrens. v. S.
Ebenso (im leichten Stil) Ebenso v. B. Cramer.

Ebenso.
v. C.
v. C.
Burkhardt.
Czerny.
'
Ebenso Ebenso Ebenso Ebenso Ebenso Ebenso Ebenso Ebenso Ebenso
W.
Ellissen.
v.
Horr. (in Notturnoform) v. Hiittner.

v.
Kullack: (mil einer grossed Cadenz) v. Fr. Liszt. v. C. Voss. (Op. 51 No. 3.) v. Kullack, und erleichtert v. E. D. Wagner. v. R. Willmers..
v.
Zogbaum.
(Op.
40..)
Op. 47*
(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.
Sonate
Ebenso.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.
Fiir
Op. 48. Seclis liieder 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.
;
von
Op. 49.
Zwei leiclite Sonaten (Gmoll,

Einzeln:
die Menuett aus No. 2
Gdur),
fiir
das Pianoforte.
'
L.
van
85
Op. 50-
(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.
Romance
EbenSo v. Joachim Als Rondo brillant

Fiir die Violine
Raff.
fiir
das Pianoforte zu 4 Handen mit Begleitung des Pianoforte.
v. C. .Czerny. (Op. 44).
Op. 51.
Zwel Rondo's
2.
Arrang. No.
( dur Gdur), fiir das Pianoforte. Fur Violine und Violoncell v. A. Uber.
Op. 52. Acbt 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. No. 6. Mit Pianoforte. No. 7. Mit Pianoforte. No. 7. Mit Guitarre; No. 8. Mit Pianoforte. No. 8. Mit Guitarre.
'
Gesange und Iiieder

.
fiir
eine Singstimme mit Begleitung
v. Sippel.
'
Op. 53.
Crosse Sonate
Fiir
(Cdur),
fiir
das Pianoforte. (Dem Grafenvon Waldv.
stein gewidmet.)
Arrang.
Op. 54. Op. 55il
das Pianoforte zu 4 Handen
Succo.
Sonate
(No. 51. Fdur). fiir das Pianoforte.
(Esdur), (Sinfonia eroica composla per festeggiare Drltte 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
Fiir Pianoforte, Flote
Symphonic
und Violoncell v. 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.
/.
N. Hummel.
Trauermarsch
Harmonium)
Derselbe fiir Derselbe fiir Derselbe fiir Siehe Op.
daraus
fiir
2 Pianofortes
oder Pianoforte und
O'rgel
(oder
v. S.
Neukomm.
das Pianoforte v. Fr. Liszt. das Pianoforte.
Physharmonica und Pianoforte

87.
v. Lickl.
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
Dieselbe
fiir
Handen.
das Pianoforte
allein.
86
Op. 57-
L. van
(No. 54. appassionata
,
CJrosse Sonate
Fmoll)
fur das Pianoforte.
(Dem Grafen 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 Pianoforte von /. Vesque von Puttlingen. Andante daraus mit unterlegten Worten (An dieNacht) f. Sopran oder Tenor
v. Silcher.
Op. 58.
Vlertes Concert
SieheOp.
31. 69.
(Gdur), fur das -Pianoforte mit Begleitung des

in Partitur.
Orcliesters.
(Dem Erzherzog Rudolph gewidmet.) Dassselbe

Pianoforte allein.
Arrang. Fur das
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
SieheOp.
ist.
69.
Op. 60. Vierte Symplionie (Bdur) , fiir das Orchester. (Dem Grafen von Oppersdorf gewidmet.) Dieselbe in Partitur.,
Arran
g. Fiir 2 Violinen, 2
Fiir Pianoforte
m.
Begl.
Bratschen, und Violoncell. von Violine Flote und Violoncell

,
v.
/.
N. Hummel.
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.
Fiir 2 Pianofortes
Siehe Op.
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-
(Dem- Hofseeretair 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.
ster.
Op. 63.
Crosse Sonate
64.)
dem
(Esdur) , f. Pianoforte, Violine Quintett Op. 4. arrangirt vom Compdnisten. Siehe Op. 4.
und Violoncell naeh
Op. 64. (No.
Crosse Sonate
dem
Trio Op.
3.
(Es dur), fur Pianoforte mit Begleitung des
Violoncells, nach
arrangirt
vom Componisten.
Siehe Op. 3.
Op. 65.
Scene nndArle
,
loscr etc.)
fiir
(italienisch und deutsch) , (Ah! pecfido" Ha! treueine Sopranstimme mit Begleitung des Orchesters oder des
Arrang. Mit
Pianoforte. Begleitung des Pianoforte (italienisch
und
deutsch).
Ebenso (deutsch).
L. van
87
Op. 66.
(Fdur), far Pianoforte und Violoncell (oder Madchen oder Weihchen). r rang. Fur das Pianoforte zu 4 Han den.
Violine), (Ceber
:
Zwiiir Variatlonen
ein
Op. 67.
Arrang. Fur
(Cmoll), f. d. Orchester. Dieselbe in Partitur. 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.
Funfte Symphonle
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 (Pastorale, Fdur) , fiir das Orchester. Dieselbe 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.
.
Symphonic
Ebenso
Sonate
v. Fr. Liszt.
fiir
das Pianoforte daraus.

(AdurJ,
f.
Op. 69.
Grosse Sonate
Fiir
Pianoforte und Violoncell (oder Violine).
[Dem Baron von
Arrang.
Gleichenstein gewidmet.) Fiir Pianoforte und Violine.

4
das Pianoforte zu
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.
Op. 71-
Fiir das' Pianofor|ejzu 4
Handen
v. F. Mockwitz.
Ebenso
v.
G. Reichardtf
Sextett
Fagott) v.
(Esdur),
,
fiir
Arrang.
Fiir Pianoforte
"Violine
2 Clarinetten, 2 Horner und 2 Fagotte. und Violoncell (oder Pianoforte Clarinette

,
und
Wustrow. Fiir das Pianoforte zu 4 Handen Ebenso.

Op. 72.
v.
X. Gleichanf.
Leonore. Oper In zwei Akten.

in
(Erste
und zweite Bearbei,.
tung). Vollstgndiger Klavierauszug.
Arrang. Leonore. Oper

Ouverture (No.
3.)
zwei Akten. Klavierauszug
(vergriffen)
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 Orchester.
Fiir Fiir
Dieselbe in Partitur. das Pianoforte zu 4 Handen. das Pianoforte allein.
88
L. van
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.
In zwei Akten. Op. 72. Fidelio (Leonore). 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.
Oper
(Dt-iiie
Bearbeilung).
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
Fiir Fiir Fiir Fiir Fiir
*"
und Violoncell. 2 Violinen, Bratsche und Violoncell. Pianoforte und Violine. 2 Pianofortes zu 8 Handen v. G. M. Schmidt.
das Pianoforte zu 4 Handen. 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.
(Es dur), fiir 2 Violinen, Bratsche und Violoncell. {Dem Fiirvon 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.
sten
Quartett
Op. 75. Sechs 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. 'î.'
.
'
Gesange von
Op. 76.
Variatlonen
(D dur)
fiir
das Pianoforte, (tfeinem Freunde Oliva
gewidmet.)
L. van
,
89
,
Op. 77-
Fantasie
(Gmoll)
fiir
das Pianoforte. (Seinem Freunde

,
dem Grafen
F. von Brunswick gewidmet.)
Arrang. Dcr
Op. 78Op. 70.
Schlusssatz als Lied, (Rauschendes Bachlein) mit Begleitung des Pianoforte v. Hubner.
(Fisdur)
,
fiir
eine Singstimme
Sonate
fiir
das Pianoforte. (Der Grdfm, Th. von Brunswick
gewidmet.)
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
Fiir
und Chor. 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
Arrang.
-
das Pianoforte. (Dem Erzherzog Rudolph gewidmet.) 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
Fiir
in Partitur.
Fiir Pianoforte, Violine (oder Bratsche)
das Pianoforte zu 4 HSnden v. J. " v. F. X. Gleichauf. Adagio daraus mit Worten (Hort vom Strand ein Vespersingen) prane und 2 Basse ohne Begleitung.
Violoncell (m. Op. 83.). P. Schmidt.

'
.
und
Ebenso
'
fiir
2 So-
Op. 82. Vier Artetten Begleitung des Pianoforte. Einzeln No. 1. 1 3. 4. 5. Siehe Op. 44.
und eln Duett
(italieniscb
und deutsch) mit
Op. 83- Drei Gesange Goethe fiir eine Singstimme mit Begleitung des Pianoforte. [Der Furstin von Kinsky, geb. Griifin von Kerpen gewidmet.) Einzeln No. 1. 2. 3. t No. 1.2. Mit Begleitung der Guitarre. No. 1. '3. Fiir das Pianoforte iibertragen v. Fr. Liszt. y*> Siehe Op. 81.
von
Op. 84-
Ouverture und Zwisehenakte zu Goethe's Fgniont.

Fiir 2 Vioiinen, Fiir Pianoforte
Partitur.
Arrang.
Bratsche Und Violoncell v. A. Brand. 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 (1Jt ode'r 1 3 stimmig) Dieselbe fur.BMsinstrumente (9 stimmig). Dieselbe fiir tiirkische Musik. Dieselbe fiir 2 Vioiinen, Bratsche und Violoncell.
und
Violine
Beethoven, Studies.
27
90
L. van
,
Dieselbe fur das Pianoforte mit Begleitung von Violine

v. /. Moscheles.
Flote
und Violoncell
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.
fur Solo- und ChorOp. 85. Chrtstus Oelberge, 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.
am
ratorlnm
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
Fiir
v. C. Gsefltjf;
das Pianoforte allein. Ebenso v. C. Czerny.

'
Op. 87. Trio (Cdur), fm. Op. 55.)
f.
2 Oboen
u. englisches Horn. Dasselbe in Partitur 16.
Arrang.
und Bratsche (m. Op. 55.). 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,
Fiir 2 Violinen
Fiir Violine,
etc.) fiir 3
Sopran-
stimmen ohne Begleitung. Siehe Op. I.No.2.

Op. 88Op. 89Op. 90.
Dag CUiick der Freundschaft (Lebensgluck).

Polonaise
(Vita felloe).
(Cdur), fiir das Pianoforte. (Der Kaiserin von Russland Elisabetha Alexiewna gewidmet.)
(E moll), f. das Pianoforte. (Dem Grafen Lichnowsky gewidmet.) ErsterSatz daraus mit Worten (Wie rastlos unaufhaltsam) fiil*1 Sopranoder Tenorstimme mit Begleitung des Pianoforte v. Silcher. Zweiter Satz daraus mit Worten (Die Schwalben sind fortgezogen) f. \ Singstimme mit Begleitung des Pianoforte v. Eiibner.
Sonate
Arrang.
Op. 91.
fiir
Wellington's Sleg, Oder die Sehlacht bel Yitloria
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
Fiir
das Pianoforte zu 4 Handen. das Pianoforte allein.
Op. 92.
Siebente (Adur), fiir das Orchester. 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.
,
Symphonie
{Dem
Reichs-
L. van
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 Begleitung des Pianoforte v. Hiibner. Mittelsatz aus demselben ebenso (Weste sauseln deinen Namen).
Op. 93.
Aclite Syuiphonie (Fdur), Arrang. Fiir Harmoniemusik (9 stimmlg)

Fiir 2 Violinen, 2
fur das Orchester. Dieselbe in Partitur.
Bratschen und Violoncell.,
Fiir Pianoforte, Violine
und
Violoncell.
Fiir 2 Pianofortes.
das Pianoforte zu 4 Handen. v. C. Czerny. Fiir das Pianoforte allein.

Fiir
Ebenso
Op. 94. die If offnung (aus Tiedge's Urania) Begleitung des Pianoforte). (Der Furstin von Kinsky gewidmet)
,
An
fiir
,
,
eine Singstimme mit
geb. Grilfin
von Kerpen
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
Violine und Violoncell. (Dem
Erzherzog Rudolph gewidmet. 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.) zusammengeftigt und zur Bekranzung des Bonner Denkmals bei dessea feierlicher EnthMung am 11. August 1845 dargebracht v. F. Schmidt. (Nach diesem
Trio arrangirt.)
Andante daraus
Op. 98fiir
fiir
Physharmonica und Pianoforte
v. Lickl.
An
Liederkieis von Al. Je eine Singstimme mit Begleitung des Pianoforte.

'(Ein
die
feme
Geliebte.
it
teles),
Op. 99Wort. (Gedicht von F. A. eine Singstimme mit Begleitung des Pianoforte.
Der Mann von

Kerkensteln.
fiir
,
Kleinschm
id),
fiir
Op. 100.
Op. 101.
Op. 102.
Kupp rech t),
(Ein Schloss nachst Baden). (Gedicht von I. P. eine oder zwei Singstimmen mit Begleit. des Pianoforte.
Sonate (Adur) f. d. Pianoforte. Zwei Sonaten (Cdur, Ddur)

ctett
dem
(Dpr Freiin Dor. Ertmann gewidmet.)

,
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 % Fagotte, iia'ch Siehe Op: 4.
(Esdur), fur 2 Clarinetten, 2 Oboen, % Horner und Quihtett Op. 4. arrangirt vom Componisten.
27*
92
Op. 104.
L. van
,
Quintet*
1. 4.
dem Trio Op.

Siehe Op.
No. No.
(Cmollj, fiir 2 Violinen 2 Bratschen und Violoncell nach 3. arrangirt vom Componisten.
3.
Op. 105. Sechs varilrte isehr leicht ausfiihrbar) , far das Pianoforte allein , Oder mit beliebiger Begleilung einer Flote Oder Violine. (In zwei Lieferungen) Op. 106-
Themen
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 Op.
v.
Bubner.
fiir
'"
107- Zehn varilrte
Themen,
gleitung einer. Flole Oder Violine.
(In fiinf
das Pianoforte mit beliebiger BeLieferungen).
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 gegenwartigen) dreistimmig fur Alt (oder Mezzo-Sopran) Tenor und Bass mit
,
willkiihrlicher Pianofortebegleitung v. Iulius Becker.
Op. 109Op. 110.

Op. 111. Op. 112.
Sonate
(Edur),
fiir
das Pianoforte. [Dem Frmlein Maximiliana Bren-
tano gewidmet)
Sonate (Asdur), fiir das Pianoforte. Sonate (Cmoll), f. das Pianoforte. {Dem Erzherzog Rudolph gewidmet.) Meeresstille und gluchliche Fahrt. (Gedicht von W.
I.
von Goethe), fiir 4 Singstimmen mit Begleitung des Orcliesters. (Dem Verfasser der GedicMe, dem unsterblichen Goethe gewidmet.) Dieselbe in Partitur, Klavierauszug und Singstimmen.
Siehe Op. 419.
Op. 113. 114. Die 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.
Ruinen von A
Feierlicher Marsch und Chor(No.

Orchesterstimmen. Fiir das Pianoforte zu
4
6.) in Partitur.
(Op. 114.)
'
(Feierlicher Einzugsmarsch aufgefuhrt in dem Gelegenheitsgedicht: ,,Die Weihe desHauses," bei Eroffnung des neuen Theaters in der Josephstadt zu Wien.'Op. 114.)
,
Handen
Fiir
das Pianoforte
fiir
allein.
Derwisch-Chor
Fiir
das Pianoforte zu
allein.
'4
Handen.
das Pianoforte
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 gleitung des Orcliesters. Klavierauszug.
Tenor und Bass mit Be-
Op. 117. Onvertiire zu Kunlar StephanfEsdurJ, (gescb/ieben zur Eroffnung 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
93
Op. 118-
Klegisc|ier
linen, Bratsche
Gesang fiir 4 Singstimmen mit Begleitung von 2 Viound Violoncell Oder des Pianoforte. (Seinern Freuride Iohann
fur das Pianoforte.
Freiherrn von Pasqualati gewidmet.)
Op. 119.
Zwoll'nene Bagatellen
(fiber einen Walzer von Diabelli, Cdur), fiir Op. 120. 33 das Pianoforte. (Anlonie von Brentano geb. Edlen von Birkenstock gewidmet.)
Veranderungen
Op. 121*.
Adagio, Variationen und Rondo

,
(Gdur)
(Ueber- Ich bin
der Schneider Kakadu).

*
Op. 121b :
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 Orcbester mit beigefiigter Orgelbegleitung. (Derh Cardinal und Erzbischof von 01miltz Erzherzog Rudolph Iohann gewidmet.,' Dieselbe in Partitur. Klavierauszug. Singstimmen complet. Chorstimmen. Eine kurze erklSrende Beschreiiiber die Messe.
bung
Op. 124-
(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.
v. G. M. Schmidt. das Pianoforte zu 4 Handen v. C. Czerny,. Ebenso v. C. W. Henning. Fiir das Pianoforte allein v. C. Czerny.
Festouverture
Ebenso
Fiir
Op. 125-
MTeunte
die
Symphonie mit Schlusschor fiber Schiller's Ode
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.
An
Freude" (Dmoll),
Fiir
Schlusschor im Klavierauszuge das Pianoforte allein. Einzelne Chorstimmen.

'
v.'
Rink.
Op. 126Op. 127.
Sechs Bagatellen fiir das Pianoforte. Quartet* (Esdur), fiir 2 Violinen, Bratsche
: :
und Violoncell.
(Dem
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
Fiirsten Nicolaus
,
Pianoforte.
Op. 128.
Der Kuss. Ariette
allein), fiir
Arrang.
Op. 129. Op. 130.
(Gedicht von Weiss e), (Ich war eine Singstimme mit Begleitung des Pianoforte. Fur; eine Singstimme mit Begleitung der Guitarre.
bei
Chloen ganz
Rondo a capriecio
Quartet*
(Gdur),
f.
d. Pianof.
(Aus
dem
Nachlasse.)
(Bdur), fiir 1 Violinen, Bratsche und Violoncell. (Dem Fiirsten Nicolaus von Galitzin gewidmet.) Dasselbe in Partitur.
ft.
94
Op. 131.
L.
van
(Dem
Qiiartett
(Cismoll), fur 2 Violinen, Bratsche jind Violoncell.
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.
,
(Bdur) , fur 2 Violinen, Op. 133(tantit libre, tantit rccherchee) Bratsche u. Violoncell. (Dem Cardinal Er'zherzog Rudolph gewidmet.) Dieselbe
in Partitur.
Crosse Fuge
SieheOp. 134.
Op. 134. ftispsse 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. glorreiche Aiigenblick. Cantate (gedichlet von Dr. Al. Weissenbach), fiir 4 Singstimmen und Orchester. Am Wiener Congresse 1814 zum ersten Male aufgefiihrt. (Dem Kaiser von Oesterreich Franz I., dem Kaiser von Russland Nicolaus I. und dejn Kbnig von Preussen Friedrich
Fuge
Der
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 Orchesterstimmen. 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.
(Ddur), fiir 2 Violinen, 2 Bratschen, und Violoncell. (Componirt Novbr. 1817). Arrang. Fiir das Pianoforte zu 4 Handen.
Fuge
am
28.
Fiir
das Pianoforte
allein.
Op. 138.
Ouverture zur Oper Leonore

Jalire 1805). S.iehe Op. 72. Ouvefture
(Cdur), (Aus
dem
Nachlasse,
Componirt im
No.
1.
MISCELLANEOUS AND POSTHUMOUS WORKS:
A.
Allegretto (Esdur)
Fur das rchester.
dem
(Beethoven's Freunde Ch. Holz gewidmet von den Verlegem.) (Aus 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 Tenorstimme mit Begleitung des Pianoforte v.Sikher.
C
Nachlasse.)
Fur Blasinstrumeiite.
,
Rondino (Esdur), fur 2 Oboen, 2 Clarioetten
2 Fagotte und 2 Horner. (Aus

Czerny.
dem
Arrang. Fur
das Pianoforte zu 4 Handen
v. C.
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 Fiir das Pianoforte zu 4 Handen.
Fiir
u. Violoncell.
das Pianoforte
allein.
Drei Original-uuartette (Esdur, Ddur, Cdur), (Aus Arrang. Fiir das Pianoforte zu 4 Handen.
dem
Nachlasse).
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
96
L.
van
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

Jahre
1
Icli
denM.dein) (Ddur), (Geschrieben
im
800 in das Stammbuch der Gr&fkmen Josejlme wick und beiden gewidmet.)
Deym imd
Therese Bruns-
Variationen (Thema
vom Grafen von Waldslein), (Cdur).

etc.
a)
4. Fur das Pianoforte allcin. Sonaten, Rondos, Praludien, Variationen
Drei Sonaten (Esdur, Fmoll, Ddur), (componirt im 10. Lebensjahre). (DemCardinal 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 Neon Variationen

Hat der
(A
v.
Dressier. Componirt im lO.Lebensjahre).

Die Mullerin : Quant' e piu bello. von Lichnowsky gewidmet.)
: :
dm), (Thema aus der Oper
Miiller). (Dem, Fiirsten Carl
Secbs Variationen (G dur), (Thema aus der Oper sento. Mich fliehen alle Freuden).
die Miillerin
Nel cor piu non mi
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
stessissima.)
(B dur),
(Thema aus der Oper
Falstaff,
von
Salieri
La
,
stessa, la
Sieben Variationen (F dur), (Thema aus der Oper ruhig schlafen)
das Opferfest
Kind
willst
du
Acht Variationen (Fdur), (Tandeln und scherzen). Dreizehn Variationen (A dur), (Thema aus der Oper: Das rothe KSppchen einmal ein alter Mann).
:
Es war
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),
(Vieni
,
(Fdur),
fiir
Pianoforte oder Harfe.
Viemndzwanzig Variationen
Amore), (Ddur.) (Der
Grafm von Hatsfeld geb.

,
Grdfin von Girodin gewidmet.)
L. van
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.
et arrang.
Sechs landlerische Tanze. Arrang. In der Collection complete des Valses origin, recueillies C. Czerny. No. 8 -r- 13.
par
Sieben landlerische Tanze. JP Arrang. In der Collection complete des Valses Czerny. No. i 7.
orig. recueillies et arrang.
par C.
Zwolf deutsche Tanze, welche fiihrt worden.
in
dem K.
K. kleinen Redoutensaal in
Wien aufge:
Arrang.
Dieselben ursprunglich fiir 2 Violinen lind Bass unter dem Titel Allela Redoute de Vienne. Dieselben in der Collection complete des Valses orig. recugillies et arrang. par C. Czerny. No. 35.
mandes de
Sechs Contretanze.
Arrang.
Fiir 2
Violinen und Bass.
Menuett (Esdurj.
Sechs Menuetten.
Zwolf Menuetten, welcbe in dem K. K. kleinen Redoutensaal worden. Arrang. Fiir 2 Violinen und Bass.
Militairmarsch. (Aus dem Nachlasse). Arrang. Fiir das Pianoforte zu 4 Handed.
,
in
Wien
aufgcfiilirt
K. GJesaiige
Canon
fiir
und Iiieder iMit und olinc

1.
Begleitung.
Mohrstimmigc Gesange.
Wilhelm Tell
:
Sopran, Alt, Tenor und Bass.

Schiller's
fiir
Gesang der Monche aus
2 Tenore und einen Bass.
Schlussgesangaus dem patriotischen Singspiel Die Ehrenpforten, (DieguteNachricht), fiir eine Singstimme und Chor mit Begleitung des Pianoforte.
2.
Einstimmige Gesange und Lieder.

fiir
Der Abschied (La partenza),
eine Singstimme mit Begleitung des Pianoforte.
Andenken (von Matt hi son),
Arrang.
eine Singstimme mit Begleitung des Pianoforte. Mit Begleitung der Guitarre.
fiir
,
Empfindungen bei Lydien's Untreue (Gedicht nach dem Franzosischen) Singstimme mit Begleitung des Pianoforte.
Gedenke mein
,
fiir
eine
f.
eine Singstimme m. Begl. des Pianoforte. (Aus
dem
,
Nachlasse).
Sechs deutsche Gedichte aus Reissig's Bliimchen der Einsamkeit fiir eine Singstimme mit Begleitung des Pianoforte. Arra ng. No. 1 In einem Hefle mit Gyrowetz und Seyfried. (3 Gedichte aus Reissig's Bliimchen der Einsamkeit.) No. 3 und 6. zusammen. No. 3. In einem Hefte mit Giuliani, Moscheles, Reichardt, Kanne und Hummel. (Der Jiingling in der Fremde in 6 Strophen.) No. 2. Mit Begleitung der Guitarre. No. 3. 6. Ebenso.
.
98
Drei Gesange
fiir
L. van
elne Singstimme mit Begleitung des Pianoforte.

8. 3. (Mit
Arrang. No.
No. No. No.
Ich liebe dicb,
Resignation). Einzeln. 1. 2. 3. Mit Guitarre. 2. 3. Mit Guitarre (zusammen mit Resignation

3.
und Abendlied).
Arrang.
Zwei Lieder
fiir eine Singstimme mit Begleitung des Pianoforte. Mit Begleitung der Guitarre.
Lied aus der
Feme,
fiir
fiir
eine Singstimme mit Begleitung des Pianoforte. Arrang. No. 1. (Zusammen mit: Das Geheimniss&So oder So. 4 deutsche Gedichte Heft 2.) No. 2. In derselben Samml. Heft 1. Mit Begleitung der Guitarre.
-
Der freie Mann,
Arrang.
fiir eine Solostimme und Chor mit Begleitung des Pianoforte. 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

Opferlied
vom
stillen
Auge, fur eine Singstimme mit Begleit. des Pianoforte.

baierischen Hofstbigerin Regina Lang.)
(Geschrieben in das
fiir
Album der
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

fiir
Der Wachtelschlag,
PRINTED BK BREITKOPK AND HARTEL
-LEIPSIC.
The lions p atBoim in which L.Y.Beefliovpiiwasharii

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Cornell University Library

Louis van Beethoven's Studies

3 1924 022 487 866

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ART OF SCIENTIFIC COMPOSITION,

FROM THE AUTOGRAPH POSTHUMOUS MANUSCRIPTS OF THE GREAT COMPOSER,

IGNATIUS VON SEYFRIED;

HENRY HUGH PIERSON.

with beethoven's portrait, and other illustrative plates.

SCHUBERTH AND COMP.

HAMBURGH AND NEW-TORE.

work, published soon

the following introductory

remarks by the Chevalier Ignatius von Seyfried, a friend of

studies of the immortal

Composer are a legacy of

form, with the utmost conscientioushis

was found among

here and there have

the limits of the

did not allow

B's marginal notes are retained.

These studies are not

be regarded as a complete systematic

but rather as possessing peculiar interest

and conciseness, and as being the

which Beethoven went

idle scholar will at

ceived, and he thus laid the foundation of that solid science

evident diligence, less remarkable than might have been ex-

his compositions see the Libera", p. 63.

died at Vienna, 1841.

audacity of his genius

which prompted him

old-fashioned prohibitions. His creative

beyond the prejudices of

advance of the age

apart from the

collateral interest attached to

they are of great intrinsic

young musicians who

desire to get at the kernel

breaking the shell.

Feeling that this

yielded to the solicitations of the Publishers,

and undertook the task of

have added some interesting and authen-

remarks upon his works, togeprivate history

notices respecting his

as filling up blanks in the un-

satisfactory sketches of his life hitherto

so universally cultivated in England, and is

making such rapid progress

America, that a work

twenty-five years ago

would have been confined

musicians and a few

rari nantes in gurgite vasto

a blessing for both these great nations that the barbarism

which depreciated and

Beethoven's Studies

Beethoven's Studies