12th string quartet (Beethoven)

from Wikipedia, the free encyclopedia
Beethoven portrait by Johann Decker from 1824.

The string quartet No. 12 in E flat major op. 127 is a string quartet by Ludwig van Beethoven .

Emergence

Beethoven began composing the quartet as early as May 1824, 14 years after the previous work, the String Quartet No. 11 in F minor, Op. 95 . String quartet No. 12 thus opens the series of "late quartets" by Beethoven, which were written in direct succession between 1824 and 1826.

In the twelve years before, Beethoven had withdrawn from public life and had not given any more concerts. Many of his patrons and friends had died during this time, and in addition there was the fact that in 1814 the palace of Beethoven's noble patron Andrei Kirillowitsch Rasumowski had burned down, with which Beethoven lost an important performance venue, especially since the famous Schuppanzigh Quartet , to which Beethoven was close , had given his concerts. Beethoven described his condition to his friend Amenda as follows: "... I can say that I live almost alone in this largest city in Germany". In the years 1816 and 1817 - the public's taste had meanwhile turned to the Italian opera composer Gioachino Rossini - Beethoven had not composed at all and during this time he wrote to the editor of the Allgemeine Musikischen Zeitung , Johann Friedrich Rochlitz : “For some time now I've been bringing myself no longer easy to write. I sit and ponder and ponder; I've had it long; but it doesn't want to be on paper. I dread the beginning of such great works. I'm in there, it's fine. "

The music-interested public assumed that Beethoven had already "advertised" , as his secretary Anton Schindler called it. Despite the Piano Sonata No. 29 in B flat major, Op. 106 (the “Hammerklavier Sonata”) published in 1821, the Allgemeine Musikische Zeitung wrote : “For larger works it seems to be completely blunted”. In addition to Op. 106, Beethoven was working on the Piano Sonata No. 30, Op. 109 in E major , the Missa solemnis and the Diabelli Variations.

In the genre of the quartet, there was only a single quartet movement for the British writer Richard Ford. This movement was only discovered in 1999 and offered on December 8 of the same year at Sotheby’s .

Another important role played by Beethoven's deafness caused by otosclerosis , which began around Beethoven's 30th year (around 1800) and steadily worsened. Since the ear trumpets used by Beethoven were of poor quality, his fellow men had to shout at some point in order to communicate with him, until in 1818 the use of conversation books became inevitable, in which Beethoven's interlocutors entered their messages to the composer.

Anonymous miniature of Beethoven's nephew Karl van Beethoven .

In addition, the composer was brought to bear in the custody suit of his nephew Karl . Karl was the son of Beethoven's brother Kaspar Karl, who died in 1815. After his death, Beethoven fought for custody, as Karl's mother Johanna van Beethoven led an immoral life in the opinion of the composer and was compared by him with the "Queen of the Night" from Wolfgang Amadeus Mozart's opera The Magic Flute . Around 1820, Beethoven's victory in the custody process contributed to an improvement in his personal situation; In addition, he had built up a new circle of friends, which, unlike in the past, was no longer of noble, but of bourgeois origin.

In 1822, the first concrete considerations for a new quartet matured after Beethoven had already expressed the wish to compose in this genre a few years earlier. Beethoven's friend Ignaz Schuppanzigh , who led the Schuppanzigh Quartet and was nicknamed “ Milord Falstaf ” by the composer , offered Beethoven his help after his return from Russia: “I will visit him in the country, so we want a new one together Compose a quartet ”; However, Beethoven refused this offer.

In May 1822, Beethoven was asked by the Leipzig publisher Carl Friedrich Peters to compose several quartets. But business collapsed when Beethoven described the quartet, which would later become his op. 127, as "not quite finished", although he had not yet got beyond planning, and asked for fees that were too high. According to the publisher Peters, compositions by Louis Spohr , Andreas Romberg and Pierre Rode are due for publication anyway , "which are all beautiful, excellent works," which is why he no longer needs quartets.

On November 9, 1822, Beethoven received an order from the Russian Prince Nikolai Borissowitsch Golitsyn , an enthusiastic cellist, to compose one to three new quartets. It is possible that Golitsyn was encouraged to do so by Schuppanzigh; Golitsyn and Schuppanzigh met during his trip to Russia.

The three quartets commissioned by Golitsyn and dedicated to him include the Quartet No. 12, Op. 127 (completed in January 1825), the String Quartet No. 15 in A minor, Op. 132 (completed in July 1825) and the String Quartet No. 13 (B flat major) op. 130 (completed in January 1826).

Beethoven accepted the commission on January 25, 1823, but could not start work until May 1824, after completing the “ Ninth Symphony ”. In March 1825, op. 127, the first of the quartets ordered was completed. Karl Holz , second violinist in the Schuppanzigh Quartet, reported in 1857: “While composing the three quartets op. 127, 130, 132 desired by Prince Golitsyn, Beethoven's inexhaustible imagination flowed such a wealth of new quartet ideas that he almost involuntarily had to write the C sharp minor and F major quartet. 'Best, I thought of something again!' He used to say jokingly and with shining eyes when we went for a walk: he wrote a few notes in his sketchbook (…) 'and there is a lack of imagination, thank God, less than ever before! "

After the quartets had been delivered, difficulties arose because of the fee. Beethoven insisted that the first payment of 50 ducats be made for the Missa solemnis , since Prince Golitsyn had also ordered a copy of the Missa solemnis so that he could perform it in St. Petersburg. However, the prince did not want to go into this at first. After an additional payment of 50 ducats for the quartet, however, the 100 ducats for the other two quartets were missing. In November 1826, with reference to financial problems and his participation in the campaign against Persia (1826–1828) , the prince promised to make up for the payment as soon as possible, which took just a few days despite a reminder sent by Beethoven on March 21, 1827 before his death, addressed to the Prince's banker, did not happen. Anton Schindler felt compelled to point out the Prince's delay in payment in his Beethoven biography, published in 1840. The first payment of 50 ducats to the nephew Karl as the composer's universal heir was not made until 1835; the rest was paid out after a further 17 years, albeit without interest on arrears. In 1858 Karl's son Ludwig van Beethoven junior received from the conductor and composer Juri Nikolajewitsch Galitzin, the prince's son, a payment of 125 ducats "as a token of the appreciation of the Russian musicians" for the composer, who died in 1827.

There is an abundance of sketches for Beethoven's late quartets, only that the many scribbled notes are so difficult to decipher that Karl Holz characterized them as “hieroglyphs”, “where no one can figure them out. These are the secrets of Isis and Osiris. "

The late quartets were composed in the following order:

Sentence names

  1. Maestoso - Allegro (E flat major)
  2. Adagio ma non troppo e molto cantabile (A flat major)
  3. Scherzo. Vivace (E flat major)
  4. Allegro (E flat major)

To the music

The three quartets composed for Prince Golitsyn show a parallel to the “ Rasumowsky Quartets ”. In both cases the middle quartet is in a minor key, while the other two are in major (“Rasumowsky Quartets”: No. 7 in F major, No. 8 in E minor, No. 9 in C major ; Golitsyn quartets [the numbering of which does not correspond to the order in which they were composed]: No. 12 in E flat major, No. 15 in A minor, No. 13 in B flat major).

At times, Beethoven considered a six-movement arrangement for the quartet with a slow middle movement called “La Gaieté” and a slow movement that introduces the finale.

First sentence

The first movement is introduced by a six-bar maestoso, which is characterized by a 2/4 time and rhythmic sforzato jams against the center of the bar . This is the first of three places within the movement in which the maestoso sounds, each time in a different key.

The Maestoso is followed by the main theme in 3/4 time, for which Beethoven provided the performance indication "teneramente, semper p (iano) e dolce". After a “scale theme” in E flat major, there is a short transition to the secondary theme in G minor. In the exposition , the first theme is similar to the third and the second to the fourth. Some Beethoven researchers see the third theme only as “thought [n]”, “secondary thought [n]”, “appendix” or “ten more bars”.

A repetition of the Maestoso marks the end of the exposition and leads to the implementation . In the development, the first two bars of the main theme appear in all instruments. Within the development, the Maestoso sounds when it turns to C major.

In the recapitulation , the main theme of the movement sounds again - with slight changes - but this time without the Maestoso; With a total of 74 bars, the main theme this time compensates for the missing six bars of the Maestoso.

The rest of the movement develops into a kind of “song” which, as Beethoven wrote to Prince Golitsyn, “always deserves to be preferred to everything else”.

Second sentence

The second movement is a variation movement. Joseph Kerman compared it with the fourth movement (which is also a set of variations) from Beethoven's String Quartet No. 14 in C sharp minor op. 131 , alluding to the sisters from Wolfgang Amadeus Mozart's opera “ Così fan tutte ”, whereby the Adagio from op. 131 “A younger sister, less soul-ful and serious-minded. She is Dorabella rather than Fiordiligi ”. be.

The theme of the movement is characterized by scale and triad elements. A dominant seventh chord rises from the violoncello to the 1st violin and then leads to the main key of A flat major. Wilhelm von Lenz wrote in 1860 about the introduction of this sentence: "This beginning, a staircase between heaven and earth, on which the spirits of the most purified artistic ideas rise and fall". Five variations of this theme follow in the course of the movement.

The first variation retains the key, tempo and time signature, but intensifies the theme rhythm through sixteenths and syncopations; all instruments are equally involved.

In the second variation, both violins are in dialogue; Sixteenth pauses and interval jumps give this variation a dance-like character.

The third variation is an Adagio molto espressivo in a solemn E major.

The fourth variation has the function of a recapitulation and takes up the theme of the movement almost unchanged. Wilhelm von Lenz wrote about the fourth variation: "The butterfly floats away in the quiet exultation of the spirit of its mystical pupation".

The fifth variation led to discussions among the performers as to whether it should be understood as a variation ( Arnold Werner-Jensen ) or a coda ( Walter Riezler ), and whether it is the last variation of the movement at all. It oscillates between A flat major and E major.

Just as in Beethoven's String Quartet No. 10 in E flat major, Op. 74 , the “Harp Quartet”, the variations in the score are not numbered. The same applies to the variations in the slow movements of op.131 , op.132 and op.135 . The American music theorist Charles Rosen wrote of Beethoven's late variations that they conveyed “less the impression that they are embellishing a theme than that they are discovering its essence”.

The entire second movement of op. 127 was met with unanimous enthusiasm among interpreters. In 1936 Walter Riezler marveled at “the sublime calm of the movement”, while Joseph Kerman in 1967 described the theme of the movement as “a famous miracle of beauty” and wrote the whole movement as “the most sensuously beautiful movement Beethoven ever”. Harry Goldschmidt described the sentence in 1975 as a "state of perfect Elysian calm", while Hugo Riemann wrote in 1903: "Four bars of final confirmation [...] conclude a sentence about whose wonderful beauty there is no need for words".

Third sentence

The third movement is the only movement in the “late quartets” to be called “Scherzo”. Despite the contrast between the curved arcs of the second movement and the one-bar elements and the dotted rhythm of this third movement, the theme of this scherzo is based on the adagio. The first part of the scherzo contains the theme as a fugue; while its second part is a detailed development. The theme is varied extensively in the recapitulation in E flat major. The trio of the movement parodies a dance movement and alternates between major and minor. A Scherzo da capo ends surprisingly after twelve bars; the movement ends with a short coda.

Fourth sentence

The fourth movement, conceived as a sonata rondo, takes up the lyrical mood of the two movements. The exposition is introduced by a four-bar unison . The first main theme with an asymmetrical eight-bar period goes directly into the second main theme, which is characterized by two-bar formations, decorations and dynamic contrasts. A transition announces the two side themes, which are similar to a nursery rhyme. The development combines the themes of the fourth movement in detail and repeats a third of the exposition in a 32-bar recapitulation. There is no transition in the recapitulation, so that the cantability of the first main theme increases to a folk coarseness. A detailed coda in the Allegro comodo leads the lyrical flow of the movement to a climax.

At short notice, Beethoven had considered adding an Adagio in E major to the finale. This E major adagio should have been thematically linked to the E flat major adagio, while the finale would have contained a thematic reference to the first movement.

effect

String Quartet No. 12 was premiered on March 6, 1825 by the Schuppanzigh Quartet in Vienna. Ignaz Schuppanzigh had with his ensemble a. A. also premiered Beethoven's Rasumowsky Quartets , so that the music critic Eduard Hanslick described the Schuppanzigh Quartet as Beethoven's real quartet: "He [Beethoven] was able to solve his most difficult, last quartets, which give the listeners and players of our day so much to resolve, entrust Schuppanzigh with reassurance. ”This is how Schuppanzigh dispelled Beethoven's worries about a possible failure of the quartet:“ Don't worry, that's a small number of donkeys that are ridiculous - fuck them all. ”

After a 14 year break in composing the quartet, the success of op. 127 was so important to Beethoven that he committed the musicians of the Schuppanzigh Quartet to top performance by signing a written declaration: “Best! Everyone is given their own, and is hereby made responsible, in such a way that one claims to behave in the best way possible, to honor one another, and to do each other beforehand. "

Even before the premiere, there were disagreements between the musicians because Beethoven had promised the quartet both Schuppanzigh for the premiere and the cellist of the Schuppanzigh Quartet, Joseph Linke, for a performance of his own. However, it was performed by Schuppanzigh, as this had already been announced in the press. The disagreements among the quartet members were exacerbated by the intrigues of Beethoven's nephew Karl and Beethoven's brother Johann against Schuppanzigh; In addition, the usual trial period of eight to 13 days for a new quartet for Beethoven's demanding op. 127 turned out to be insufficient.

The first performance of the string quartet failed because of insufficient preparation by the Schuppanzigh Quartet. Neffe Karl reported to his uncle about “many disturbances” during the premiere: “At first we didn't quite go together, then Schuppanzigh got a string, which also helped a lot because he didn't even have a second violin at hand”, during Schindler wrote:

“The first production of the first of these quartets in E flat major, by Schuppanzigh and comrades, took place in March, 1825, as previously noted, but it was almost completely unsuccessful, so that the audience, which had come with great tension, left the hall rather confused. They asked each other what they had actually heard. […] The only reason for the failure was to be found in Schuppanzigh, who had no longer been declared capable of correct execution or intellectual understanding of the difficult task. There was therefore bitter expectoration between him and the composer. "

- Anton Schindler

Schuppanzigh himself said to Beethoven: "It is true that we did it too soon (too early) and it did not go as it should be, but it was not me alone that was missing, but all of us 4". The unsuccessful performance clouded the relationship between Beethoven and Schuppanzigh. Schuppanzigh himself felt he was being treated unfairly by the members of his quartet, who, as Beethoven's nephew Karl reports, did not believe "that they would do this to him". In addition, Joseph Linke saw Schuppanzigh unable to handle Beethoven's heaviest quartets and the Schuppanzigh Quartet at Beethoven's request op. 127 on March 23, 1825 under the direction of Joseph Böhm , the first violinist of the Schuppanzigh Quartet and head of the violin class at the Conservatory.

In this phase, too, Beethoven's deafness manifested itself once more, as demonstrated during a rehearsal for the new performance. Joseph Böhm later reported how Beethoven's eyes carefully followed the bows of the instruments, which enabled him to “judge the smallest fluctuations in tempo or rhythm”. When Böhm advised that the »molto vivace« in the coda of the final movement should be deleted, Beethoven observed another test run of the instruments "crouching in the corner" and with the laconic comment "Can stay that way" deleted the "molto vivace" from the score and changed it to an "Allegro con moto".

Boehm was a better violinist than Schuppanzigh and his musicians were already somewhat familiar with the work through Schuppanzigh's performance; Nevertheless, Anton Schindler wrote rather skeptically about Böhm's performance:

"J. Böhm, more concert player than quartet player, therefore a virtuoso in overcoming technical difficulties, achieved better success with the work; disregarding this, the deep darkness did not want to lighten in a few sentences. Unfortunately the composer was informed of a complete victory, as if the work had now appeared as clear to all as each of the older ones of this genre. "

- Anton Schindler

Nevertheless, the quartet received a positive response at this performance and was performed at least eleven times by January 1828, by Joseph Böhm, Joseph Mayseder and Ferdinand Piringer . Karl Holz reports on the latter: “Bey Piringer is already busy making the first quartet (op. 127); but there are always 5 of them there; one has to give tact ”.

From September 1825 seven of these performances were given by Schuppanzigh, with whom Beethoven had in the meantime reconciled. In connection with a new performance by Schuppanzigh, Karl Holz reported to the composer: “We had a rehearsal today; My lord played the quartet excellently to-day; if it goes like this tomorrow (and we are still holding a rehearsal) it has not been heard any better. He must have practiced unusually at home ”.

At the end of the 19th century there were problems with the reception of Beethoven's late quartets, during which they were also criticized by musicians such as Pyotr Ilyich Tchaikovsky .

Today the autograph is distributed over several locations: while the first two movements are kept in the Kraków Biblioteka Jagiellońska , the third movement is in the Stiftelsen Musikkulturens Stockholm and the fourth movement is in the Beethoven House in Bonn.

literature

Continuing

  • Theodor Helm: Beethoven's string quartets. Attempt a technical analysis of these works in relation to their intellectual content . Leipzig 1885, 3rd edition 1921
  • Alfred Ebert: The first performances of Beethoven's E-flat major quartet (op. 127) in the spring of 1825 . In: Die Musik , Vol. 9 (1909/1910), Issue 13 (7th Beethoven booklet), pp. 42–63 and Booklet 14 (8th Beethoven booklet), pp. 90–106
  • Ludwig van Beethoven: works. New edition of all works . Department VI, Volume 5, String Quartets III (op. 127–135), ed. from the Beethoven Archive Bonn (J. Schmidt-Görg et al.). Munich / Duisburg 1961 ff.
  • Lev Ginsburg: Ludwig van Beethoven and Nikolai Galitzin . In: Beethoven yearbook 1959/60 . Bonn 1962
  • Ivan Mahaim: Naissance et Renaissance des Derniers Quartuors . 2 volumes, Paris 1964
  • Alfred Orel: The autograph of the Scherzo from Beethoven's String Quartet op.127 . In: Horst Heussner (Hrsg.): Festschrift Hans Engel for his 70th birthday . Kassel / Basel 1964, pp. 274–280
  • Joseph Kerman: The Beethoven Quartets . New York 1967
  • Ekkehard Kreft: Beethoven's late quartets. Substance and substance processing . Bonn 1969
  • Rudolf Stephan : On Beethoven's last quartets . In: Die Musikforschung , Vol. 23, 1970, pp. 245-256
  • Arno Forchert : Rhythmic Problems in Beethoven's Late String Quartets . In: Report on the international musicological congress in Bonn . 1970. Kassel a. a. 1971, pp. 394-396
  • Emil Platen : A Notation Problem in Beethoven's Late String Quartets . In: Paul Mies, Joseph Schmidt-Görg (eds.): Beethoven-Jahrbuch 1971/72 . Bonn 1975, pp. 147-156
  • Sieghard Brandenburg : The sources on the genesis of Beethoven's string quartet in E flat major Op. 127 . In: Beethoven-Jahrbuch 10 , 1978/1981, Bonn 1983, pp. 221–276
  • Emil Platen: About Bach, Kuhlau and the thematic-motivic unity of Beethoven's last quartets . In: Contributions to Beethoven's chamber music . Symposium Bonn 1984, ed. by Sieghard Brandenburg and Helmut Loos, Munich 1987, pp. 152-164
  • Ulrich Siegele: Beethoven. Formal strategies of the late quartets. Music concepts . Edited by Heinz-Klaus Metzger and Rainer Riehn, issue 67/68, Munich 1990
  • William Kinderman : String Quartet in E flat major, Op. 127 . In: Albrecht Riethmüller u. a. (Ed.): Beethoven. Interpretations of his works . 2 volumes. 2nd Edition. Laaber, 1996, Volume 2, pp. 278-291
  • Robert Adelson: Beethoven's String Quartet in E flat Op. 127: a Study of the First Performances . In: Music & Letters , Vol. 79 (1998), pp. 219-243.
  • John M. Gingerich: Ignaz Schuppanzigh and Beethoven's Late Quartets . In: The Musical Quarterly, Vol. 93 (2010), pp. 450-513
  • Klaus Martin Kopitz : The early Viennese performances of Beethoven's chamber music in contemporary documents (1797–1828) . In: Friedrich Geiger, Martina Sichardt (Ed.): Beethoven's Chamber Music (= Albrecht Riethmüller (Ed.): The Beethoven Handbook , Volume 3). Laaber 2014, pp. 165-211

Web links

Individual evidence

  1. ^ Ludwig van Beethoven: Correspondence . Complete edition, ed. by Sieghard Brandenburg, 7 volumes, Munich 1996–1998, volume 3, p. 137
  2. ^ Friedrich Kerst : The memories of Beethoven . 2 volumes, Volume 1, Stuttgart 1913, p. 287
  3. ^ Anton Felix Schindler : Ludwig van Beethoven . 2 volumes, Münster, 1840, 3rd edition 1860; Volume 2, p. 2
  4. ↑ Allgemeine Musical Zeitung , 1821, Col. 539
  5. ^ Gerd Indorf: Beethoven's string quartets . Freiburg / Breisgau 2007, p. 351
  6. ^ A b Lewis Lockwood : Beethoven: His Music - His Life . Metzler 2009, p. 272
  7. ↑ Carl Czerny : Memories from my life . Edited by Walter Kolneder. In: Collection d'études musicologiques , Volume 46, Strasbourg / Baden-Baden, pp. 20 f.
  8. ↑ Ludwig van Beethoven: Konversationshefte . Edited by Karl-Heinz Köhler, Grita Herre, Dagmar Beck, and others. a., 11 volumes, Leipzig 1968-2001, volume 2, p. 227
  9. ^ Carl Friedrich Peters' letter to Beethoven, July 12, 1822. In: Ludwig van Beethoven: Briefwechsel . Complete edition, ed. by Sieghard Brandenburg, 7 volumes, Munich 1996–1998, volume 4/1478, p. 508
  10. ↑ Lewis Lockwood: Beethoven: His Music - His Life. Metzler, 2009, p. 284
  11. ↑ Gerd Indorf: Beethoven's string quartets: Cultural-historical aspects and work interpretation Rombach; 2nd edition May 31, 2007, p. 353
  12. ^ Wilhelm von Lenz : Beethoven. An art study . 5 volumes. Kassel 1855 (Vol. 1-2), Hamburg (Vol. 3-5), Volume 5, p. 216 f.
  13. ↑ Jan Caeyers: Beethoven - The lonely revolutionary . CH Beck-Verlag, 2013, ISBN 978-3-406-65625-5 , p. 723
  14. ^ Sieghard Brandenburg (Ed.): Ludwig van Beethoven. Correspondence. Complete edition . 7 volumes, Munich 1996–1998, No. 2230
  15. ^ Peter Clive: Beethoven and his World. A Biographical Dictionary . Oxford 2001, p. 136
  16. ↑ Ludwig van Beethoven: Konversationshefte . Edited by Karl-Heinz Köhler, Grita Herre, Dagmar Beck, and others. a. 11 volumes. Leipzig 1968-2001, Volume 9, p. 97
  17. ↑ Gerd Indorf: Beethoven's string quartets: Cultural-historical aspects and work interpretation Rombach; 2nd edition May 31, 2007, p. 384
  18. ^ Matthias Moosdorf: Ludwig van Beethoven. The string quartets. Bear rider; 1., ed. June 26, 2007, p. 96
  19. ↑ Lewis Lockwood: Beethoven: His Music - His Life. Metzler, 2009, p. 348
  20. ↑ Lewis Lockwood: Beethoven: His Music - His Life. Metzler, 2009, p. 349
  21. ^ Matthias Moosdorf: Ludwig van Beethoven. The string quartets. Bear rider; 1., edition June 26, 2007, ISBN 978-3-7618-2108-4 , p. 91
  22. ^ Arnold Werner-Jensen: Ludwig van Beethoven . Stuttgart 1998, p. 248
  23. ^ Wulf Konold : The string quartet. From the beginning to Franz Schubert. Wilhelmshaven 1980, p. 138
  24. ^ Ulrich Siegele: Beethoven. Formal strategies of the late quartets. Music concepts . Edited by Heins-Klaus Metzger and Rainer Riehn. Issue 67/68, Munich 1990, p. 43
  25. ↑ Hugo Riemann : Beethoven's String Quartets (Master Guide No. 12) . Berlin undated (1903), p. 108
  26. ↑ Gerd Indorf: Beethoven's string quartets: Cultural-historical aspects and work interpretation Rombach; 2nd edition May 31, 2007, p. 364
  27. ↑ Gerd Indorf: Beethoven's string quartets: Cultural-historical aspects and work interpretation Rombach; 2nd edition May 31, 2007, p. 363f.
  28. ^ Ludwig van Beethoven: Correspondence . Complete edition, ed. by Sieghard Brandenburg, 7 volumes. Munich 1996-1998, Volume 6, p. 96
  29. ^ Joseph Kerman: The Beethoven Quartets . New York, 1967, p. 334
  30. ^ A b Wilhelm von Lenz : Beethoven. An art study . 5 volumes (volume 1–2 Kassel 1855, volume 3–5, Hamburg, 1860), volume 5, p. 231 f.
  31. ^ Gerd Indorf: Beethoven's string quartets . Freiburg / Breisgau 2007, p. 370 f.
  32. ↑ Lewis Lockwood: Beethoven: His Music - His Life. Metzler, 2009, p. 350f.
  33. ↑ Charles Rosen : The Classic Style. Haydn, Mozart, Beethoven . Munich / Kassel etc. 1983, Kassel etc. 2005, p. 492
  34. ^ Walter Riezler : Beethoven . Berlin / Zurich 1936, p. 292
  35. ^ Joseph Kerman: The Beethoven Quartets . New York 1967, p. 210
  36. ^ Joseph Kerman: The Beethoven Quartets . New York 1967, p. 218
  37. ^ Harry Goldschmidt : Beethoven. Factory introductions . Leipzig 1975, p. 157
  38. ↑ Hugo Riemann: Beethoven's String Quartets (Master Guide No. 12) . Berlin undated (1903), p. 118
  39. ↑ Gerd Indorf: Beethoven's string quartets: Cultural-historical aspects and work interpretation Rombach; 2nd edition, May 31, 2007, p. 373
  40. ^ Sieghard Brandenburg : The sources on the genesis of Beethoven's string quartet in E flat major Op. 127 . In: Martin Staehelin (Ed.): Beethoven-Jahrbuch , 10, 1978/1981, Bonn 1983, pp. 221–276, here pp. 273 f.
  41. ↑ Ludwig van Beethoven: Konversationshefte . Edited by Karl-Heinz Köhler, Grita Herre, Dagmar Beck, and others. a., 11 volumes, Leipzig 1968-2001, volume 7, p. 146
  42. ^ Ludwig van Beethoven: Correspondence . Complete edition, ed. by Sieghard Brandenburg, 7 volumes. Munich 1996-1998, Volume 6, p. 32
  43. ^ Gerd Indorf: Beethoven's string quartets: Cultural-historical aspects and work interpretation . 2nd Edition. Rombach, 2007, p. 103 f.
  44. ↑ Ludwig van Beethoven: Konversationshefte . Edited by Karl-Heinz Köhler, Grita Herre, Dagmar Beck, and others. a., 11 volumes. Leipzig 1968-2001, Volume 7, p. 177
  45. ↑ Ludwig van Beethoven . 2 volumes, Münster 1840, 3rd edition 1860, volume 2, p. 112
  46. ↑ Ludwig van Beethoven: Konversationshefte . Edited by Karl-Heinz Köhler, Grita Herre, Dagmar Beck, and others. a., 11 volumes. Leipzig 1968-2001, Volume 7, p. 196
  47. ↑ Ludwig van Beethoven: Konversationshefte . Edited by Karl-Heinz Köhler, Grita Herre, Dagmar Beck, and others. a., 11 volumes. Leipzig 1968-2001, volume 7, p. 101
  48. ↑ a b c Alexander Wheelock Thayer : Ludwig van Beethoven's life in 5 volumes, 5 volumes in German edited by Hermann Deiters, revised by Hugo Riemann, 1866 ff. Reprint Hildesheim / New York 1970, volume 5, p. 180
  49. ↑ Lewis Lockwood: Beethoven: His Music - His Life . Metzler 2009, p. 274
  50. ↑ Lewis Lockwood: Beethoven: His Music - His Life . Metzler 2009, p. 353
  51. ↑ Ludwig van Beethoven . 2 volumes. Münster 1840, 3rd edition 1860, volume 3, p. 112 f.
  52. ↑ Ludwig van Beethoven: Konversationshefte . Edited by Karl-Heinz Köhler, Grita Herre, Dagmar Beck, and others. a., 11 volumes, Leipzig 1968-2001, volume 10, p. 104
  53. ↑ Ludwig van Beethoven: Konversationshefte . Edited by Karl-Heinz Köhler, Grita Herre, Dagmar Beck, and others. a. 11 volumes. Leipzig 1968-2001, Volume 8, p. 289
  54. ↑ Harenberg Culture Guide Chamber Music . Bibliographisches Institut & FA Brockhaus, Mannheim 2008, p. 101
  55. ^ Jürgen Heidrich: The string quartets . In: Beethoven manual . Bärenreiter-Verlag Karl Vötterle, Kassel 2009, ISBN 978-3-476-02153-3 , p. 199