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Vorwort Preface III Vorwort Die Anzeige des Verlegers Artaria in lich für die Bereitstellung der Quellen der Wiener Zeitung meldete die Ausgabe gedankt. im September 1802 als erschienen; der genaue zeitliche Verlauf der Kompositi- Tuscaloosa (USA), Herbst 2019 Neben Sonaten und Variationszyklen onsarbeit, der Verhandlungen mit dem Joanna Cobb Biermann hinterließ Ludwig van Beethoven (1770 – Verlag und der Herstellung des Drucks 1827) zahlreiche Einzelsätze für Klavier lässt sich indes nicht ermitteln. Folgen- solo, darunter einige Rondos. Diese Rei- de anekdotisch anmutende Überliefe- hungsform mit einem Refrain und eini- rung legt nahe, dass das Rondo noch gen mehr oder weniger kontrastierenden vor der Sonate op. 27 Nr. 2, also spätes- Couplets erlebte in der zweiten Hälfte tens 1801, entstanden sein muss (vgl. des 18. Jahrhunderts sowohl als Final- Alexander Wheelock Thayer, Ludwig Preface oder Binnensatz von Sonaten als auch van Beethovens Leben, neu bearb. von in Form des selbständigen Einzelstücks Hugo Riemann, Bd. 2, Leipzig 21910, eine Blütezeit. Für Beethoven spielte das S. 307, 367): Die Gräfin Julie Gallen- Klavierrondo in der Auseinandersetzung berg (geb. Guicciardi) berichtete Otto Along with his sonatas and cycles of var- mit den gleichzeitig entstehenden Sona- Jahn im Jahr 1852, dass Beethoven das iations, Ludwig van Beethoven (1770 – ten eine wichtige, aber zeitlich begrenz- Rondo zunächst ihr verehrt habe, er 1827) left behind many individual piec- te Rolle; in seinen späteren Jahren hat aber kurzfristig eine Komposition be- es for solo piano, including several ron- er zwar das zugrunde liegende Prinzip nötigte, die er der Gräfin Henriette von dos. This sequential form, consisting of bewahrt, die Form selbst aber fast völlig Lichnowsky (1769 – nach 1829) – einer a refrain and a few more-or-less con- aufgegeben. Schwester der Beethoven-Mäzene Fürst trasting episodes, experienced a flower- Beethoven komponierte die Rondos Karl und Graf Moritz von Lichnowsky ing in the second half of the 18th centu- op. 51 Nr. 1 und 2 unabhängig vonein- – widmen konnte, und deshalb das Ma- ry, both as final or inner movements of ander während seiner frühen Wiener nuskript des Rondos zurückverlangte. sonatas, or as self-contained individual Jahre. Sie wurden einzeln veröffentlicht Er entschädigte die Gräfin Gallenberg pieces. For Beethoven, the piano rondo und sowohl in den Originalausgaben danach mit der Zueignung der Sonate played an important, but chronologi- als auch in den zeitgenössischen Nach- op. 27 Nr. 2, der berühmten Sonate mit cally-limited role in relation to the sona- drucken ohne Opuszahlen gedruckt. So- dem Beinamen „Mondscheinsonate“, die tas that he composed at the same time; weit bisher bekannt, fasste zuerst Hof- im März 1802 mit einer Widmung an although in his later years he certainly meisters thematischer Katalog sie 1819 sie, „alla Damigella Contessa Giulietta preserved the underlying principle, he unter der Opusnummer 51 zusammen; Guicciardi“, bei Giovanni Cappi in Wien almost completely abandoned the form im Katalog des Originalverlags Artaria erschien. itself. wurde dagegen bis 1832 das Sextett Das Rondo in G-dur steht heute etwas Beethoven composed the Rondos op. 71 unter der Opuszahl 51, die beiden im Schatten des populäreren Schwester- op. 51 nos. 1 and 2 independently of Rondos lediglich als Nummer 1 (C-dur) werks in C-dur. Zu Beethoven Lebzei- each other during his early years in Vi- und Nummer 2 (G-dur) geführt. ten jedoch war Nr. 2 offenbar ähnlich enna. They were published separately Das G-dur Rondo op. 51 Nr. 2 ist et- beliebt wie Nr. 1, wie sich an den zahl- and printed without opus number both was später entstanden als das Rondo in reichen zeitgenössischen Nachdrucken in their original editions and in con- C-dur. Die erhaltenen Notate im Skiz- ablesen lässt. In einer Rezension zu ei- temporary reprints. As far as is known, zenbuch „Grasnick 1“ (Blatt 12 recto) nem dieser Nachdrucke wurde die an- they were first brought together under lassen sich auf die zweite Hälfte des sprechende Gestaltung des Werks be- the opus no. 51 in Hofmeister’s themat- Jahres 1798 datieren (vgl. Douglas John- sonders hervorgehoben: „Das Rondo in ic catalogue of 1819; by contrast, up son/Alan Tyson/Robert Winter, The Beet- G dur gehört zu den minder schweren until 1832 the catalogue of their origi- hoven Sketchbooks. History, Reconstruc- und zu den vorzüglich gefälligen Kom- nal publisher, Artaria, listed the op. 71 tion, Inventory, hrsg. von Douglas John- posizionen des großen Beethoven. Es Sextet as op. 51, and the two Rondos son, Oxford 1985, S. 81 f.). Eine voll- besteht aus einem Andante Grazioso e only as no. 1 (C major) and no. 2 (G ma- ständige autographe Niederschrift ist Cantabile im Zweivierteltakt, welches jor). nicht erhalten, lediglich eine überprüfte in der Mitte mit einem sehr lieblichen The Rondo in G major op. 51 no. 2 Abschrift, die als Stichvorlage für die Allegretto im Sechsachteltakt in E dur was composed a little later than the Ron- Originalausgabe diente und die Haupt- abwechselt“ (Zeitung für die elegante do in C major. The surviving entries in quelle unserer Edition bildet (zu den Welt, Bd. 7, 1807, Sp. 942). the sketchbook “Grasnick 1” (leaf 12 Quellen und ihrer Bewertung siehe die recto) can be dated to the second half of Bemerkungen am Ende der vorliegen- Den in den Bemerkungen genannten Bi- 1798 (cf. Douglas Johnson/Alan Tyson/ den Edition). bliotheken und Institutionen sei herz- Robert Winter, The Beethoven Sketch- HN_1457_Vorwort.indd 3 22.01.2020 10:28:26 IV books. History, Reconstruction, Invento- dante grazioso e cantabile in duple me- quement sous les numéros 1 (Ut majeur) ry, ed. by Douglas Johnson, Oxford, 1985, ter, which changes in the middle to a et 2 (Sol majeur). pp. 81 f.). No complete autograph ver- very lovely E major Allegretto in 6/8” Le Rondo en Sol majeur op. 51 no 2 sion has survived, only the copy revised (Zeitung für die elegante Welt, vol. 7, fut composé un peu plus tard que le Ron- by the composer that served as the en- 1807, col. 942). do en Ut majeur. Les extraits conser vés graver’s copy for the original edition and dans le carnet d’esquisses «Grasnick 1» forms the primary source for our edi- Our warm thanks to the libraries and (feuillet 12, recto) peuvent être datés de tion (see the Comments at the end of the institutions listed in the Comments for la seconde moitié de 1798 (cf. Douglas present edition concerning the sources providing the sources. Johnson/Alan Tyson/Robert Winter, The and their evaluation). Beethoven Sketchbooks. History, Recon- The announcement in the Wiener Zei- Tuscaloosa (USA), autumn 2019 struction, Inventory, éd. par Douglas tung by the Artaria publishing house re- Joanna Cobb Biermann Johnson, Oxford, 1985, pp. 81 s.). Au- ports the edition as already available in cun manuscrit autographe n’ayant été September 1802. The exact chronologi- conservé, seule une copie vérifiée qui cal sequence of work on the piece, the servit de copie à graver pour l’édition negotiations with the publisher and the originale constitue la source principale production of the print cannot, however, de notre édition (pour les sources et be determined. The following account, leur évaluation voir les Bemerkungen which sounds like an anecdote, suggests Préface ou Comments à la fin de la présente that the Rondo must have been com- édition). posed before the Piano Sonata op. 27 Artaria, l’éditeur, en annonça la pa- no. 2, and thus in 1801 at the latest (cf. rution dans la Wiener Zeitung du mois Alexander Wheelock Thayer, Ludwig van Outre ses sonates et cycles de variations, de septembre 1802. Toutefois, le dérou- Beethovens Leben, revised by Hugo Rie- Ludwig van Beethoven (1770 – 1827) lement chronologique exact du processus mann, vol. 2, Leipzig, 21910, pp. 307, laissa à la postérité de nombreux mor- de composition, des négociations avec 367). Countess Julie Gallenberg (née ceaux indépendants pour piano seul, l’éditeur et de l’impression ne peut être Guicciardi) reported to Otto Jahn in dont plusieurs rondos. Cette forme avec déterminé. L’anecdote suivante, rappor- 1852 that Beethoven had originally pre- refrain et couplets plus ou moins contras- tée par la tradition, suggère que ce Ron- sented the Rondo to her. However, at tés connut son apogée au cours de la se- do aurait été composé encore avant la short notice he needed a piece that he conde moitié du XVIIIe siècle, à la fois Sonate op. 27 no 2, c’est-à-dire au plus could dedicate to Countess Henriette von comme mouvement final ou intermé- tard en 1801 (cf. Alexander Wheelock Lichnowsky (1769 – after 1829), a sis- diaire d’une sonate mais aussi comme Thayer, Ludwig van Beethovens Leben, ter of Beethoven’s patrons Prince Karl pièce indépendante. Pour Beethoven, le nouvelle éd. par Hugo Riemann, vol. 2, and Count Moritz von Lichnowsky, and rondo pour piano joua un rôle impor- Leipzig, 21910, pp. 307, 367). En effet, thus requested the return of the Rondo tant, mais limité dans le temps, dans son la comtesse Julie Gallenberg (née Guic- manuscript. He subsequently made travail autour des sonates composées à ciardi) rapporta à Otto Jahn en 1852 amends to Countess Gallenberg by the la même époque. Pendant ses dernières que Beethoven lui avait d’abord dédié dedication of the Piano Sonata op. 27 années, s’il en conserva le principe sous- son Rondo, mais qu’ayant besoin rapi- no. 2, the famous Sonata known as the jacent, il abandonna presque totalement dement d’une œuvre pour la comtesse “Moonlight Sonata”; it was published in la forme elle-même. Henriette von Lichnowsky (1769 – après March 1802 by Giovanni Cappi in Vien- Beethoven composa les Rondos op. 51 1829) – une sœur du prince Karl et na with the dedication “alla Damigella nos 1 et 2 indépendamment l’un de l’autre du comte Moritz von Lichnowsky qui Contessa Giulietta Guicciardi”.
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