Book contents
- Frontmatter
- Contents
- Preface
- Editorial Conventions
- Bartók: Piano Concerto No.1
- Bartók: Violin Concerto No.2
- Bartók: Dance Suite
- Beethoven Symphonies: Some Supplementary Remarks
- Beethoven: Overture Leonore No.2
- Beethoven: Overture Leonore No.3
- Beethoven: Overture King Stephen
- Berlioz: Symphonie Fantastique
- Berlioz: Harold in Italy
- Berlioz: Overtures
- Bloch Schelomo: Hebraic Rhapsody for Cello and Orchestra
- Brahms: Four Symphonies
- Brahms: Piano Concerto No.1 in D Minor, Op.15
- Brahms: Violin Concerto in D, Op.77
- Brahms: Hungarian Dances: A Brief Guide
- Bruch: Violin Concerto No.1 in G Minor, Op.26
- Busoni: Piano Concerto, Op.39
- Debussy: Prélude À L’Après-Midi D’un Faune
- Dvořák: Scherzo Capriccioso, Op.66
- Dvořák: Symphonic Variations, Op.78
- Dvořák: Romance for Violin and Orchestra, Op.11
- Dvořák: Serenade for Strings in E, Op.22
- Elgar: Variations on an Original Theme (‘Enigma’), Op.36
- Elgar: Concert-Overture Froissart
- Elgar: Concert-Overture Cockaigne
- Elgar: Concert-Overture in the South (Alassio)
- Elgar: Sea Pictures
- Elgar: Serenade for Strings in E Minor, Op.20
- Fauré: Fantaisie for Flute, Orch. Louis Aubert
- Franck: Symphony in D Minor
- Haydn: Symphonies with High Horns
- Haydn: Symphony No.100 in G (‘Military’)
- Haydn: Symphony No.104 in D (‘London’)
- Liszt: Piano Concerto No.1 in E Flat
- Liszt: Piano Concerto No.2 in A
- Mahler: Symphony No.2 in C Minor
- Martinù: Rhapsody-Concerto for Viola and Orchestra
- Mendelssohn: Symphony No.3 in a Minor, Op.56 (‘Scottish’)
- Mendelssohn: Symphony No.4 in a, Op.90 (‘Italian’)
- Mendelssohn: Violin Concerto in E Minor, Op.64
- Mendelssohn: Overture The Hebrides (‘Fingal’s Cave’), Op.26
- Mozart: Piano Concertos
- Mussorgsky, Orch. Ravel Pictures from an Exhibition
- Nielsen: Sinfonia Espansiva (Symphony No.3)
- Prokofiev: Classical Symphony (Symphony No.1, Op.25)
- Prokofiev: Peter and the Wolf, Op.67
- Rachmaninov: Symphony No.2 in E Minor, Op.27
- Rachmaninov: Piano Concerto No.2 in C Minor, Op.18
- Ravel: Piano Concerto
- Ravel: La Valse
- Ravel: Le Tombeau De Couperin
- Ravel: Pavane Pour Une Infante Défunte
- Respighi: Fontane Di Roma
- Rimsky-Korsakov: Symphonic Suite: Scheherazade, Op.35
- Rimsky-Korsakov: Capriccio Espagnol, Op.34
- Rossini: Overture William Tell
- Saint-Saëns: Symphony No.3 in C Minor, Op.78
- Saint-Saëns: Cello Concerto No.1 in a Minor, Op.33
- Schubert: Overture Die Zauberharfe, D.644 (‘Rosamunde’)
- Schumann: Symphony No.4 in D Minor, Op.120
- Schumann Overture, Scherzo and Finale, Op.52
- Schumann: Cello Concerto in a Minor, Op.129
- Schumann: Overture Genoveva, Op.81
- Shostakovich: Cello Concerto No.1 in E Flat, Op.107
- Sibelius: Symphony No.2 in D, Op.43
- Sibelius: Symphony No.3 in C, Op.52
- Sibelius: Symphony No.4 in a Minor, Op.63
- Sibelius: Symphony No.5 in E Flat, Op.82
- Sibelius: Symphony No.6 in D Minor, Op.104
- Sibelius: Symphony No.7 in C, Op.105
- Sibelius: Violin Concerto in D Minor, Op.47
- Sibelius: Tapiola, Op.112
- Smetana: Má Vlast: 2. Vltava
- Smetana: Má Vlast: 3. Šárka
- Strauss: Ein Heldenleben, Op.40
- Strauss: Horn Concerto No.1 in E Flat, Op.11
- Strauss: Oboe Concerto
- Strauss: Metamorphosen: Study for 23 Solo Strings
- Tchaikovsky: Symphony No.2 in C Minor, Op.17
- Tchaikovsky: Symphony No.3 in D, Op.29
- Tchaikovsky: Symphony No.4 in F Minor, Op.36
- Tchaikovsky: Symphony No.5 in E Minor, Op.64
- Tchaikovsky: Symphony No.6 in B Minor, Op.74, ‘Pathétique’
- Tchaikovsky: Piano Concerto No.1 in B Flat Minor, Op.23
- Tchaikovsky: Violin Concerto in D, Op.35
- Tchaikovsky: Fantasy-Overture After Shakespeare, Romeo and Juliet
- Tippett: Symphony No.2 in C
- Vaughan Williams: A London Symphony (Symphony No.2)
- Vaughan Williams: Pastoral Symphony (Symphony No.3)
- Vaughan Williams: Tuba Concerto
- Wagner: Prelude Die Meistersinger Von Nürnberg
- Walton: Cello Concerto
- Weber: Overture Der Beherrscher Der Geister
- Weber: Overture Der Freischütz
- Weber: Overture Oberon
- Bibliography
Beethoven Symphonies: Some Supplementary Remarks
Published online by Cambridge University Press: 08 June 2023
- Frontmatter
- Contents
- Preface
- Editorial Conventions
- Bartók: Piano Concerto No.1
- Bartók: Violin Concerto No.2
- Bartók: Dance Suite
- Beethoven Symphonies: Some Supplementary Remarks
- Beethoven: Overture Leonore No.2
- Beethoven: Overture Leonore No.3
- Beethoven: Overture King Stephen
- Berlioz: Symphonie Fantastique
- Berlioz: Harold in Italy
- Berlioz: Overtures
- Bloch Schelomo: Hebraic Rhapsody for Cello and Orchestra
- Brahms: Four Symphonies
- Brahms: Piano Concerto No.1 in D Minor, Op.15
- Brahms: Violin Concerto in D, Op.77
- Brahms: Hungarian Dances: A Brief Guide
- Bruch: Violin Concerto No.1 in G Minor, Op.26
- Busoni: Piano Concerto, Op.39
- Debussy: Prélude À L’Après-Midi D’un Faune
- Dvořák: Scherzo Capriccioso, Op.66
- Dvořák: Symphonic Variations, Op.78
- Dvořák: Romance for Violin and Orchestra, Op.11
- Dvořák: Serenade for Strings in E, Op.22
- Elgar: Variations on an Original Theme (‘Enigma’), Op.36
- Elgar: Concert-Overture Froissart
- Elgar: Concert-Overture Cockaigne
- Elgar: Concert-Overture in the South (Alassio)
- Elgar: Sea Pictures
- Elgar: Serenade for Strings in E Minor, Op.20
- Fauré: Fantaisie for Flute, Orch. Louis Aubert
- Franck: Symphony in D Minor
- Haydn: Symphonies with High Horns
- Haydn: Symphony No.100 in G (‘Military’)
- Haydn: Symphony No.104 in D (‘London’)
- Liszt: Piano Concerto No.1 in E Flat
- Liszt: Piano Concerto No.2 in A
- Mahler: Symphony No.2 in C Minor
- Martinù: Rhapsody-Concerto for Viola and Orchestra
- Mendelssohn: Symphony No.3 in a Minor, Op.56 (‘Scottish’)
- Mendelssohn: Symphony No.4 in a, Op.90 (‘Italian’)
- Mendelssohn: Violin Concerto in E Minor, Op.64
- Mendelssohn: Overture The Hebrides (‘Fingal’s Cave’), Op.26
- Mozart: Piano Concertos
- Mussorgsky, Orch. Ravel Pictures from an Exhibition
- Nielsen: Sinfonia Espansiva (Symphony No.3)
- Prokofiev: Classical Symphony (Symphony No.1, Op.25)
- Prokofiev: Peter and the Wolf, Op.67
- Rachmaninov: Symphony No.2 in E Minor, Op.27
- Rachmaninov: Piano Concerto No.2 in C Minor, Op.18
- Ravel: Piano Concerto
- Ravel: La Valse
- Ravel: Le Tombeau De Couperin
- Ravel: Pavane Pour Une Infante Défunte
- Respighi: Fontane Di Roma
- Rimsky-Korsakov: Symphonic Suite: Scheherazade, Op.35
- Rimsky-Korsakov: Capriccio Espagnol, Op.34
- Rossini: Overture William Tell
- Saint-Saëns: Symphony No.3 in C Minor, Op.78
- Saint-Saëns: Cello Concerto No.1 in a Minor, Op.33
- Schubert: Overture Die Zauberharfe, D.644 (‘Rosamunde’)
- Schumann: Symphony No.4 in D Minor, Op.120
- Schumann Overture, Scherzo and Finale, Op.52
- Schumann: Cello Concerto in a Minor, Op.129
- Schumann: Overture Genoveva, Op.81
- Shostakovich: Cello Concerto No.1 in E Flat, Op.107
- Sibelius: Symphony No.2 in D, Op.43
- Sibelius: Symphony No.3 in C, Op.52
- Sibelius: Symphony No.4 in a Minor, Op.63
- Sibelius: Symphony No.5 in E Flat, Op.82
- Sibelius: Symphony No.6 in D Minor, Op.104
- Sibelius: Symphony No.7 in C, Op.105
- Sibelius: Violin Concerto in D Minor, Op.47
- Sibelius: Tapiola, Op.112
- Smetana: Má Vlast: 2. Vltava
- Smetana: Má Vlast: 3. Šárka
- Strauss: Ein Heldenleben, Op.40
- Strauss: Horn Concerto No.1 in E Flat, Op.11
- Strauss: Oboe Concerto
- Strauss: Metamorphosen: Study for 23 Solo Strings
- Tchaikovsky: Symphony No.2 in C Minor, Op.17
- Tchaikovsky: Symphony No.3 in D, Op.29
- Tchaikovsky: Symphony No.4 in F Minor, Op.36
- Tchaikovsky: Symphony No.5 in E Minor, Op.64
- Tchaikovsky: Symphony No.6 in B Minor, Op.74, ‘Pathétique’
- Tchaikovsky: Piano Concerto No.1 in B Flat Minor, Op.23
- Tchaikovsky: Violin Concerto in D, Op.35
- Tchaikovsky: Fantasy-Overture After Shakespeare, Romeo and Juliet
- Tippett: Symphony No.2 in C
- Vaughan Williams: A London Symphony (Symphony No.2)
- Vaughan Williams: Pastoral Symphony (Symphony No.3)
- Vaughan Williams: Tuba Concerto
- Wagner: Prelude Die Meistersinger Von Nürnberg
- Walton: Cello Concerto
- Weber: Overture Der Beherrscher Der Geister
- Weber: Overture Der Freischütz
- Weber: Overture Oberon
- Bibliography
Summary
Editing the Beethoven symphonies for Bärenreiter (they were published between 1996 and 2000) was an extraordinary voyage of discovery. The problem with voyages of discovery, however, is the implicit admission that earlier conclusions suffered from ignorance of perceptions gained later, hence might then require embarrassing revision. In the end this only concerned two general areas, neither of sufficient importance to warrant changes in subsequent printings and their attendant confusion: internal double bars at changes of key and time signature, which copyists and engravers often notated but Beethoven did not, and short hairpins, which were printed as modern accents according to the current thinking, but ought properly to be notated somewhat longer, and always beneath the note, as Schubert (notoriously) did. Both these features were introduced into our Beethoven editions for all subsequent genres.
But just two other issues could not be so blithely put to one side, and have accordingly been corrected (and highlighted in footnotes) subsequent to the first printing of our editions.
Symphony No.8, Trio
In all performances in living memory, the florid cello line has been played by the whole section. However, in all the authentic sources it is marked Solo. This need not necessarily indicate any conflict; there are places in the orchestral repertoire where Solo can denote a solo for the whole section (i.e. soli), such as Weber Symphony No.1 (I 147 Vla, Vc), Brahms Piano Concerto No.1 (II 99 Vla, III 206 Vla, Vc), Dvořák Serenade for strings (V 162 Vl 2), even Haydn Die Schöpfung (No.1 bar 32 Cb, no question of Haydn assuming only one Cb in this piece). In 1997 I therefore made the decision that “this was the standard designation for an exposed passage intended for the whole section”.
Alas, however, those were almost certainly the wrong points of reference. The clear antecedent for this cello solo is surely the trio (again) of Haydn Symphony No.95, and other similarly soloistic trios such as Haydn Symphony Nos. 6 and 8 (Cb), 7 (Vc). These are surely more convincing precedents, and the conclusion has to be that Beethoven did mean it to be played by one solo player. The main difference for the published material is that in that case, gli altri Vc need to play col Basso, so their copies need to include the Cb line; this has (belatedly) been rectified.
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- Orchestral Masterpieces under the Microscope , pp. 9 - 13Publisher: Boydell & BrewerPrint publication year: 2023