Book contents
- Frontmatter
- Dedication
- Contents
- Preface
- Chronological Bibliography of Books, Articles, Book Chapters, and Musical Editions by Lewis Lockwood
- Acknowledgments
- Introduction
- Part One A Creative Life
- 1 Of Deserters and Orphans: Beethoven's Early Exposure to the Opéras-Comiques of Monsigny
- 2 “A Really Excellent and Capable Man”: Beethoven and Johann Traeg
- 3 A Four-Leaf Clover: A Newly Discovered Cello, the Premiere of the Ninth Symphony, Beethoven's Circle of Friends in Bonn, and a Corrected Edition of the Song “Ruf vom Berge,” WoO 147
- 4 “Where Thought Touches the Blood”: Rhythmic Disturbance as Physical Realism in Beethoven's Creative Process
- 5 The Sanctification of Beethoven in 1827–28
- Part Two Prometheus / Eroica
- 6 The Prometheus Theme and Beethoven's Shift from Avoidance to Embrace of Possibilities
- 7 Beethoven at Heiligenstadt in 1802: Deconstruction, Integration, and Creativity
- 8 “Mit Verstärkung des Orchesters”: The Orchestra Personnel at the First Public Performance of Beethoven's Eroica
- Part Three Masses
- 9 “Aber lieber Beethoven, was haben Sie denn wieder da gemacht?” Observations on the Performing Parts for the Premiere of Beethoven's Mass in C, Opus 86
- 10 Heart to Heart: Beethoven, Archduke Rudolph, and the Missa solemnis
- 11 God and the Voice of Beethoven
- Part Four Quartets
- 12 “So Here I Am, in the Middle Way”: The Autograph of the “Harp” Quartet and the Expressive Domain of Beethoven’s Second Maturity
- 13 Meaningful Details: Expressive Markings in Beethoven Manuscripts, with a Focus on Opus 127
- 14 The Autograph Score of the Slow Movement of Beethoven’s Last Quartet, Opus 135
- 15 Early German-Language Reviews of Beethoven's Late String Quartets
- Part Five Explorations
- 16 Three Movements or Four? The Scherzo Movements in Beethoven's Early Sonatas
- 17 Utopia and Dystopia Revisited: Contrasted Domains in Beethoven's Middle-Period F-Major and F-Minor Works
- 18 Schooling the Quintjäger
- 19 Cue-Staff Annotations in Beethoven's Piano Works: Reflections and Examples from the Autograph of the Piano Sonata, Opus 101
- 20 Another Little Buck Out of Its Stable
- 21 Beethoven's Cavatina, Haydn's Seasons, and the Thickness of Inscription
- List of Contributors
- Index of Works by Beethoven
- General Index
3 - A Four-Leaf Clover: A Newly Discovered Cello, the Premiere of the Ninth Symphony, Beethoven's Circle of Friends in Bonn, and a Corrected Edition of the Song “Ruf vom Berge,” WoO 147
Published online by Cambridge University Press: 17 September 2020
- Frontmatter
- Dedication
- Contents
- Preface
- Chronological Bibliography of Books, Articles, Book Chapters, and Musical Editions by Lewis Lockwood
- Acknowledgments
- Introduction
- Part One A Creative Life
- 1 Of Deserters and Orphans: Beethoven's Early Exposure to the Opéras-Comiques of Monsigny
- 2 “A Really Excellent and Capable Man”: Beethoven and Johann Traeg
- 3 A Four-Leaf Clover: A Newly Discovered Cello, the Premiere of the Ninth Symphony, Beethoven's Circle of Friends in Bonn, and a Corrected Edition of the Song “Ruf vom Berge,” WoO 147
- 4 “Where Thought Touches the Blood”: Rhythmic Disturbance as Physical Realism in Beethoven's Creative Process
- 5 The Sanctification of Beethoven in 1827–28
- Part Two Prometheus / Eroica
- 6 The Prometheus Theme and Beethoven's Shift from Avoidance to Embrace of Possibilities
- 7 Beethoven at Heiligenstadt in 1802: Deconstruction, Integration, and Creativity
- 8 “Mit Verstärkung des Orchesters”: The Orchestra Personnel at the First Public Performance of Beethoven's Eroica
- Part Three Masses
- 9 “Aber lieber Beethoven, was haben Sie denn wieder da gemacht?” Observations on the Performing Parts for the Premiere of Beethoven's Mass in C, Opus 86
- 10 Heart to Heart: Beethoven, Archduke Rudolph, and the Missa solemnis
- 11 God and the Voice of Beethoven
- Part Four Quartets
- 12 “So Here I Am, in the Middle Way”: The Autograph of the “Harp” Quartet and the Expressive Domain of Beethoven’s Second Maturity
- 13 Meaningful Details: Expressive Markings in Beethoven Manuscripts, with a Focus on Opus 127
- 14 The Autograph Score of the Slow Movement of Beethoven’s Last Quartet, Opus 135
- 15 Early German-Language Reviews of Beethoven's Late String Quartets
- Part Five Explorations
- 16 Three Movements or Four? The Scherzo Movements in Beethoven's Early Sonatas
- 17 Utopia and Dystopia Revisited: Contrasted Domains in Beethoven's Middle-Period F-Major and F-Minor Works
- 18 Schooling the Quintjäger
- 19 Cue-Staff Annotations in Beethoven's Piano Works: Reflections and Examples from the Autograph of the Piano Sonata, Opus 101
- 20 Another Little Buck Out of Its Stable
- 21 Beethoven's Cavatina, Haydn's Seasons, and the Thickness of Inscription
- List of Contributors
- Index of Works by Beethoven
- General Index
Summary
A Recently Discovered Cello Formerly Owned by Beethoven
In 2008 a cello formerly owned by Ludwig van Beethoven resurfaced (see fig. 3.1). Since then it has been on loan to the Beethoven-Haus. According to Aloys Fuchs in 1846, the instrument was in Vienna after the composer's death, in the possession of P. Wertheimber [sic], a descendant of Samson Wertheimer (1658–1724), who was court factor (purveyor to the royal household, banker, and financial adviser) to Emperor Leopold I. (Leopold I was himself a gifted composer.) Samson Wertheimer held the same post for Leopold's successors, Emperor Joseph I and Charles VI, as well as for the electoral palatinate and the electors of Mainz, Trier, and Saxony; he was, moreover, the chief rabbi of Hungary. A few years ago it became known that Beethoven, in addition to the string quartet instruments exhibited in the Beethoven-Haus since 1890 (and thought to belong together as a set), owned another violin and a second cello. On the basis of two seals carrying the initials “LvB” found on this “new” cello, one can conclude that this instrument was once part of the original string quartet set presented to Beethoven around 1800 by Prince Lichnowsky, as a gift in recognition of his first six string quartets, his op. 18. The seal on the button is the large seal that the composer frequently used; the one on the rib below the endpin is his less frequent small seal (see figs. 3.2 and 3.3).
The other two instruments that formed part of this original set (one of the violins and the viola at the Beethoven-Haus) differ somewhat from them in that the large seal is located at the upper end of the back plate, just below the foot of the neck. In addition, both have the initial “B” incised in the back plate, a mark that our instrument lacks—perhaps having been obliterated in the course of a later repair. Another violin, also originally part of this set, was presented to the Beethoven-Haus by Gerda Taussig for a token purchase price. This violin was presumably built by the Salzburg violin maker Johann Joseph Schorn around 1720. It, too, exhibits the large seal as well as the incised initial on the back plate.
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- The New BeethovenEvolution, Analysis, Interpretation, pp. 50 - 77Publisher: Boydell & BrewerPrint publication year: 2020