Book contents
- Frontmatter
- Dedication
- Contents
- Acknowledgments
- Introduction
- 1 Robert Granjon and Music during the Golden Age of Typography
- 2 Publishing Music Theory in Early Cinquecento Venice and Bologna: Friends and Foes
- 3 Preaching to the Choir: Arts of Persuasion in the Converts of Italy
- 4 Music Distribution in London during Handel's Lifetime: Manuscript Copies versus Prints
- 5 Beethoven's Miniatures
- 6 “The Beautiful and the Ugly”: Travel Literature, Racial Theory, and a Schumann Song
- 7 Verdi's “Music of the Future”
- 8 The Suspended Voice of Amália Rodrigues
- 9 More than Mostly Mozart: Teddy Wilson's “China Boy”
- 10 Wanted Dead and Alive: Historical Performance Practice and Electro-Acoustic Music from IRCAM to Abbey Road
- 11 Lowinsky's Secrets
- 12 The Unknown Hildegard: Editing, Performance, and Reception (An Ordo Virtutum in Five Acts)
- List of Contributors
- Index
5 - Beethoven's Miniatures
Published online by Cambridge University Press: 05 March 2014
- Frontmatter
- Dedication
- Contents
- Acknowledgments
- Introduction
- 1 Robert Granjon and Music during the Golden Age of Typography
- 2 Publishing Music Theory in Early Cinquecento Venice and Bologna: Friends and Foes
- 3 Preaching to the Choir: Arts of Persuasion in the Converts of Italy
- 4 Music Distribution in London during Handel's Lifetime: Manuscript Copies versus Prints
- 5 Beethoven's Miniatures
- 6 “The Beautiful and the Ugly”: Travel Literature, Racial Theory, and a Schumann Song
- 7 Verdi's “Music of the Future”
- 8 The Suspended Voice of Amália Rodrigues
- 9 More than Mostly Mozart: Teddy Wilson's “China Boy”
- 10 Wanted Dead and Alive: Historical Performance Practice and Electro-Acoustic Music from IRCAM to Abbey Road
- 11 Lowinsky's Secrets
- 12 The Unknown Hildegard: Editing, Performance, and Reception (An Ordo Virtutum in Five Acts)
- List of Contributors
- Index
Summary
In early March 1823 Beethoven received an unpleasant letter from Carl F. Peters, founder of the well-known music publishing firm, mainly about the Bagatelles, op. 119, and some other minor works that Beethoven had sent him. Peters begins this long letter with a nagging complaint that he had paid Beethoven in the previous year for compositions that had not yet been delivered. Then Peters continues:
Now I come to the bagatelles—at which I was very surprised. I have had several of them played but not one person wants to believe that these are by you. To be sure, I wished to have small pieces, but really, these are entirely too small. Besides, the majority are so easy that they are not suitable for somewhat better players, and for beginning players there are, now and again, passages that are too difficult…. [He closes by saying] I shall never print the small pieces; I would rather lose the fee paid for them. This declaration will probably shock you but please just consider my reasons, and you will see that my actions are based on them and in no way on whim. The first reason is that I do not want to risk the danger of being suspected of having committed a fraud by placing your name falsely in front of those small pieces, for few will believe these little works are by the famous Beethoven. A second reason is that I do not want just to print [any] compositions of yours; rather, I want to have exceptionally good pieces by you.
- Type
- Chapter
- Information
- Music in Print and BeyondHildegard von Bingen to The Beatles, pp. 118 - 128Publisher: Boydell & BrewerPrint publication year: 2013