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Ludwig Van Beethoven 33 Veränderungen C-Dur Über Einen Walzer Von Anton Diabelli Für Klavier Op. 120 II · Widmungsexemplar

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Ludwig Van Beethoven 33 Veränderungen C-Dur Über Einen Walzer Von Anton Diabelli Für Klavier Op. 120 II · Widmungsexemplar Ludwig van Beethoven 33 Veränderungen C-Dur über einen Walzer von Anton Diabelli für Klavier op. 120 II · Widmungsexemplar der Originalausgabe und Kommentare Ludwig van Beethoven 33 Variations C major on a waltz by Anton Diabelli for piano op. 120 II · Dedication copy of the Original Edition and Commentaries Eine Veröffentlichung des Beethoven-Hauses Bonn Reihe III, Ausgewählte Handschriften in Faksimile-Ausgaben Herausgegeben von Bernhard R. Appel und Michael Ladenburger Band 19 A publication of the Beethoven House, Bonn Series III, Selected Manuscripts in Facsimile Edited by Bernhard R. Appel and Michael Ladenburger Volume 19 Ludwig van Beethoven 33 Veränderungen C-Dur über einen Walzer von Anton Diabelli für Klavier op. 120 Teil 2 · Faksimile der Originalausgabe (Widmungsexemplar) und Kommen tare von Bernhard R. Appel, William Kinderman und Michael Ladenburger Ludwig van Beethoven 33 Variations C major on a waltz by Anton Diabelli for piano op. 120 Part 2 · Facsimile of the Original Edition (Dedication copy) and Commentaries by Bernhard R. Appel, William Kinderman and Michael Ladenburger PMS 454 = 23/18/38/0 2010 Die Erwerbung der Handschrift und die Drucklegung der vorliegenden Faksimile-Ausgabe wurde ermöglicht durch die freundliche Unterstützung zahlreicher Künstler und Förderer. The acquisition of the manuscript and the publication of this facsimile edition was made possible by the support of numerous artists and donators. © Verlag Beethoven-Haus Bonn 2010 Scans: Detlef Knäfel Bildbearbeitung: Hans-Joachim Schreck und Jan van der Most Gestaltung: Jan van der Most, Düsseldorf Druck: Peter Pomp GmbH, Bottrop ISBN 978-3-88188-119-7 Carus 47.319 Inhalt Content Zur Edition Notes on the edition Danksagung Acknowledgements 11 Faksimile der Originalausgabe (Widmungsexemplar) Facsimile of the Original Edition (Dedication Copy) 46 William Kinderman Die Entstehung von Beethovens Diabelli-Variationen The Evolution of Beethoven’s Diabelli Variations 74 Bernhard R. Appel und Michael Ladenburger Das Autograph der Diabelli-Variationen und die Überlieferungsgeschichte des Werkes The Autograph Score and the Source Tradition of the Diabelli Variations Zur Edition Notes on the Edition Das 2009 in die Sammlung des Beethoven-Hauses Bonn aufgenommene Au- In 2009, the autograph score of Beethoven’s final masterpiece for the pi- tograph der 33 Veränderungen über einen Walzer von Anton Diabelli op. 120, ano, Thirty-Three Variations on a Waltz by Anton Diabelli (op. 120), en- Beethovens letztes Meisterwerk für Klavier, wird in der vorliegenden Edition tered the collections of the Beethoven-Haus in Bonn. The present volume vollständig faksimiliert vorgelegt. is a complete facsimile edition of that manuscript. Die Handschrift wird getreu wiedergegeben, wie sie auf uns gekommen ist. The manuscript is faithfully reproduced just as it arrived at our premis- Sie befindet sich in einem historisch veränderten Zustand, der sicherlich nicht es – a state that has been altered over the years and surely does not rep- jenem zum Zeitpunkt der Ablieferung beim Verlag entspricht. Damals war die resent the condition in which it was submitted to the publisher. At that Handschrift allenfalls laienhaft geheftet. Das Themen-Blatt (vor S. 1) und die time, the stitching of the manuscript was at best amateur. The Theme drei Einlegeblätter lagen einst dem Manuskript nur lose bei. Einlegeblatt I und Sheet (in front of page 1) and the three inserted leaves were slipped un- II werden an der Stelle im Faksimile wiedergegeben, an der sie später eher will- attached into the manuscript. Inserted Leaves I and II are reproduced in kürlich von fremder Hand eingeklebt wurden (vor S. 29). Das separat überlie- the facsimile at those points where they were later, somewhat arbitrarily, ferte Einlegeblatt III wurde an jener Stelle eingefügt, wo es seinem Inhalt nach pasted in by someone other than Beethoven (in front of page 29). Loose hingehört (nach S. 64). Leaf III, which has come down to us separately, was inserted at its right- Eine minutiöse Beschreibung des Autographs und seiner Schreibschichten, ful place on the basis of its contents (after page 64). die in der vorliegenden Edition aus nahe liegenden Gründen nicht geboten wer- For obvious reasons, this volume is not the place to present an exhaus- den kann, bietet das Digitale Archiv des Beethoven-Hauses (www.beethoven- tive description of the autograph and its layers of writing. Such a descrip- haus-bonn.de). tion (in German only) can be found in the Digital Archive of the Beethoven- Die Originalausgabe wurde gleichfalls faksimiliert, um im direkten Vergleich Haus (www.beethoven-haus-bonn.de). zwischen Handschrift und Musikdruck den hohen Informationswert eines We also include a facsimile of the original edition. A direct compari- Autographs anschaulich zu machen und darüber hinaus eine Lesehilfe zu bie- son of the manuscript and the print illustrates the high level of informa- ten an Stellen, an denen die Handschrift schwer lesbar ist. Da das Titelblatt der tion offered by an autograph and serves as an aid to reading those pas- Originalausgabe eine autographe Widmung trägt, ist es wie die Originalhand- sages where the manuscript is difficult to decipher. Since the title page of schrift farbig wiedergegeben, während die Notenseiten schwarz/weiß reprodu- the Original Edition bears an autograph dedication, we present it in four- ziert sind, da die darin enthaltenen wenigen handschriftlichen Eintragungen color reproduction, like the original manuscript. The pages of music, on nicht von der Hand des Komponisten stammen. the other hand, are reproduced in black-and-white, for the few handwrit- Die Wiedergabe beider Quellen erfolgt in originalgetreuem Maßstab. Die ten inscriptions they contain are not by Beethoven. Originalausgabe wurde ohne Informationsverlust leicht angeschnitten. Both sources are reproduced in their original size. The Original Edi- tion has been slightly trimmed without loss of information. 6 Danksagung Acknowledgments Die Erstellung des Kommentars profitierte maßgeblich von der Unterstützung The writing of the commentary has benefited greatly from the support we einiger Fachkollegen. Nicolas Bell von der Musiksammlung der British Libra- received from several colleagues. Nicolas Bell, of the Music Room of the ry, London, erteilte wertvolle Auskünfte zu den dort in reicher Zahl und in al- British Library in London, provided valuable information on the original len Auflagen vorhandenen Originalausgaben bzw. Titelauflagen. Thomas Leib- editions and the reissues with new title page, of which the library has es- nitz, der Direktor der Musiksammlung der Österreichischen Nationalbibliothek, pecially rich holdings in all impressions. Thomas Leibnitz, the head of the Wien, sei für die Bereitstellung von Bildvorlagen bestens gedankt. Hans-Joa- Music Collection at the Österreichische Nationalbibliothek in Vienna, chim Schreck brachte sein Spezialwissen beim Colormanagement bei der Di- earned our gratitude by preparing camera-ready originals. Hans-Joachim gitalisierung und bei der Druckvorstufe ein. Jan van der Most hat nicht nur Schreck applied his special knowledge of color management to the digiti- für eine angemessene Gestaltung der Faksimileausgabe gesorgt, sondern auch zation process and prepress procedure. Jan van der Most found not only für eine sehr gute Bildbearbeitung. Ronald Reinke und Hans Hilsenbeck ha- a fitting design for the facsimile edition but processed the images with an ben in bewährter Weise für eine sorgsame restauratorische Behandlung des expert hand. Ronald Reinke and Hans Hilsenbeck took charge, in time- Autographs inkl. einer reversiblen teilweisen Öffnung der überklebten Blätter honored fashion, of the careful restoration of the autograph, including the gesorgt. Clemens Brenneis von der Musikabteilung der Staatsbibliothek zu Ber- reversible loosening of some of the pasted sheets of paper. Clemens Bren- lin – Preußischer Kulturbesitz stellte dankenswerterweise sehr gute Pausen von neis, of the Music Department of the Staatsbibliothek zu Berlin – Preus- Wasserzeichen ähnlicher bzw. identischer Papiere wie im Autograph zur Ver- sischer Kulturbesitz, was kind enough to provide high-quality tracings of fügung, was die Identifizierung der Quadranten wesentlich erleichterte. watermarks found on paper identical or similar to that of the autograph, Last, but not least sei neuerlich unserem damaligen Vorsitzenden Hermann thereby greatly facilitating the task of identifying the quadrants. J. Abs (1901-1994) gedankt, der im Jahre 1987 die finanziellen Mittel bereitstell- Last, but not least, we wish yet again to thank our then chairman, Her- te, mit denen der Ankauf des Einzelblattes NE 162 (im Faksimile Einlegeblatt mann J. Abs (1901-1994). In 1987 he set aside the funds that made it pos- III nach S. 64) möglich wurde. sible to purchase the separate leaf NE 162, which has entered the facsim- ile as Loose Leaf III (after page 64). Bernhard. R. Appel, Michael Ladenburger Bernhard. R. Appel, Michael Ladenburger 7 Faksimile der Originalausgabe (Widmungsexemplar) Facsimile of the Original Edition (Dedication Copy) Kommentare Comments 45 Die Entstehung von The Evolution of Beethovens Diabelli-Variationen Beethoven’s Diabelli Variations William Kinderman William Kinderman Das Autograph der 33 Veränderungen über einen Walzer von Diabelli op. 120 zeugt The autograph manuscript of the Thirty-three Variations on a Waltz by von einer einzigartigen schöpferischen Arbeit, die sich über vier Jahre, vom Früh- Diabelli,
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