14th string quartet (Beethoven)

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Beethoven portrait by Johann Decker from 1824.
Joseph von Stutterheim, dedicatee of the quartet

The String Quartet No. 14 in C sharp minor op. 131 is a string quartet by Ludwig van Beethoven .

Emergence

Beethoven wrote his String Quartet No. 14 from the end of 1825 to July 1826 directly after the String Quartet No. 13 in B flat major op.130 . Robert Winter wrote about the “ Grosse Fugue ” when it was still the original finale of Quartet No. 13: “The sketches […] suggest that the composer proceeded directly from the Grosse Fuge to the opening fugue of Op. 131, as if the profound catharsis of the former had released the serene lyrism of the latter. "

Delays resulted from Beethoven's illness in March. As early as May Beethoven declared work on the quartet to be finished with the Schott publishing house in Mainz, but did not send it off until August. Towards the end of the compositional work, Beethoven was shaken by the attempted suicide of his nephew Karl on July 30, 1826.

Beethoven noted on the copy revised for Schott-Verlag: “N. b. Stolen from different this and that. ”After Schott's question about the meaning of this sentence, Beethoven wrote on August 19th:“ You wrote that it was supposed to be an original quartet, I was sensitive, so out of joke I wrote at the inscription, that it's worn together, it's brand new meanwhile ”.

Schott-Verlag paid Beethoven a fee of 80 ducats for the quartet , with which Beethoven received 30 ducats more for this quartet than for each of the three quartets intended for the Russian Prince Nikolai Borissowitsch Golitsyn .

At first Beethoven intended to dedicate the quartet to his friend and patron Johann Nepomuk Wolfmayer, but then dedicated it to the Moravian field marshal lieutenant Joseph von Stutterheim : “It must be given to the local field marshal lieutenant Baron v. Stutterheim, to which I owe great liabilities. " The latter looked after his nephew Karl, who had meanwhile joined the military, and, if Karl was fit, offered his promotion. Beethoven later dedicated his String Quartet No. 16 in F major, Op. 135, to his friend Wolfmayer .

Sentence names

  1. Adagio ma non troppo e molto espressivo (C sharp minor)
  2. Allegro molto vivace (D major)
  3. Allegro moderato (B minor - E major)
  4. Andante ma non troppo e molto cantabile (A major)
  5. Presto (E major)
  6. Adagio quasi un poco andante (G sharp minor)
  7. Allegro (C sharp minor)

To the music

With the words “The A minor quartet was five movements, the B major quartet six movements. The c sharp minor quartet has seven movements! ”Said the musicologist Harry Goldschmidt his opinion on the development of Beethoven's last quartets (although Gerd Indorf generally considers it“ misleading ” to refer to the “ pieces ” as “ movements ” ). However, the general opinion about the number of sentences is not so clear: While the musicologist Johannes Forner speaks of "seven sentences, even if they are very different in type and extent", Theodor Helm does not see an independent sentence in No. 3 (however, without justifying this), but leaves this question open for No. 6.

In contrast to Beethoven's previous quartets, the movements in the c sharp minor quartet lose their independence in the sense that there are no clear separations between the individual movements in the autograph. These are only noted in the copy of the score for Schott-Verlag. Accordingly, Karl Holz , second violinist of the Schuppanzigh Quartet , which is close to Beethoven, asked Beethoven: “Does it have to be played through without stopping? - But then we can't repeat anything! - When should we vote? - Before the Presto… “. As Karl Holz was able to report from his memoirs in 1857, "despite all the ideas, Beethoven only allowed a short break after the Presto E major (not before it) because of the retuning of the instruments and the tiredness of the audience"

The movements also have different weights: three of the movements act as an intermediate link, while the remaining four movements form the focal point of the quartet. In this sense, Hugo Riemann means , “that ultimately only the usual four main clauses remain” and sees the remaining clauses as “transitional links”.

As Robert Winter, who cataloged the extensively surviving sketches for the String Quartet op.131 - on the one hand for the whole work, on the other for the finale and the third movement - was able to prove that Beethoven drew five different movement plans in the course of the composition work for the work until he finally decided on the final concept. The proposed rate plans are:

  1. A c sharp minor fugue (1st movement) with a recitative leading to an andante in A major (2nd movement), a D major scherzo (3rd movement) and a finale in three time (4th movement )
  2. Fugue in C sharp minor (1st movement), Allegro in C sharp major (2nd movement), Finale in C sharp minor (3rd movement); this conception would have been identical to that of the Piano Sonata No. 14 op. 27 No. 2 in C sharp minor ("Moonlight Sonata").
  3. C sharp minor fugue, which is transformed into F sharp minor (1st movement), Allegro in 6/8 time (2nd movement), a slow movement in A major (3rd movement), a Scherzo in F sharp Minor (4th movement), a finale in C sharp minor (5th movement). The finale of this draft would have used the theme of the third movement of the Quartet No. 16 in F major, Op. 135 .
  4. and 5. shared the idea of ​​a fugue as an introduction to the work; Beethoven had planned challenging experiments in the middle movements for both designs.

After the “Moonlight Sonata”, the Quartet op. 131 was only the second composition in which Beethoven used the key of C sharp minor; he did it here because of the sound. In Joseph Haydn's work it can only be found in his piano sonata Hob. XVI: 36; with Wolfgang Amadeus Mozart, however, not at all.

First sentence

The first movement is an Adagio fugue and, as Richard Wagner put it , “probably the most melancholy thing that has ever been said in tones” and compared it “with awakening in the morning of the day […], which in its long run was not to fulfill a wish, not one! ' But at the same time it is a penitential prayer, a consultation with God in faith in the eternal good. "

Like the first movements of the String Quartet No. 13 in B flat major op. 130 (and thus also the “ Great Fugue ”) and the String Quartet No. 15 in A minor, Op. 132 , the movement is based on the four-tone group G sharp-afe. In contrast to the A minor quartet, the two seconds of the four-tone group are connected to the sixth by a falling third. Emil Platen comments on the use of the four-tone group: “From this, however, I want to deduce that it is a matter of a context of meaning between the three quartets, a unit of a higher order, a 'gigantic cycle', which should then actually be performed in uninterrupted sequence. I think it's a mistake. " Lewis Lockwood points out that this theme is similar to that of Fugue No. 4 in C sharp minor from the first volume of Johann Sebastian Bach's “ Well-Tempered Clavier ”.

The movement undergoes a polyphonic development (to a lesser extent than the “ Great Fugue ”, however, since the theme only appears as a single quotation after the exposition; there is only one development at the end of the fugue) before it ends in an intensification. The polyphony of the movement led the music researcher Manfred Hermann Schmid to the assessment: "The fugue glides through different keys".

Second sentence

The second movement is in 6/8 time and has a transitional character; the main theme changes to D major. The interpreters' assessments of this movement vary between a sonata movement without development and a “clear rondo with four refrains”. According to the opinion of the music researcher Harry Goldschmidt , the sentence “only has a single theme. One would almost like to call it a secondary theme to a non-existent sonata movement. ”Joseph Kerman, on the other hand, says:“ The lack of serious modulation, contrast, or development, and the whole rhythmic situation, contribute to one underlying quality: flatness ”

The c sharp minor of the fugue blends in with the dance character of the movement.

Third sentence

The third movement Allegro moderato - Adagio consists of 11 bars and begins with two tutti chords in B minor / F sharp major. The viola leads in the sixth bar with the five-note main motif to the adagio of the remaining five bars. The short movement ends on the dominant E major for the following Andante.

Fourth sentence

The fourth movement is a variation movement in the subdominant parallel A major and center of the quartet. Joseph Kerman described this set of variations in comparison with Beethoven's String Quartet No. 12 in E flat major op. 127 , alluding to the sisters from Wolfgang Amadeus Mozart's opera “ Così fan tutte ” as “a younger sister, less soul-ful and serious-minded. She is Dorabella rather than Fiordiligi ”.

The 32-bar theme complex is based on a one-bar motif, played alternately by the two violins; it was hinted at in the recitative of the third movement. In the further course of the topic, the contours of the four-tone group can be seen, which Emil Platen describes as a "general intervalic construction principle": "[...] The common feature is a characteristic, large central interval, which is flanked by two second intervals".

The theme is only immediately recognizable as such in the first variation and in the coda, and is more heavily changed in the other variations.

The first variation is characterized by rhythmic changes through double dots as well as a denser polyphony, the constituent motif is first processed in the three lower voices, from the ninth bar on the 1st violin also participates in the "openwork motif work".

The second variation ("Più mosso") changes the meter from 2/4 to 4/4, is kept in the style of an "Alla marcia" due to the strict emphasis on the four quarters and is reminiscent of the "Alla marcia" movement from op. 132 .

The first part of the third variation, titled “Lusinghiero” (“Flattering”), retains the second steps in the head motif, but extends the range up to the third c sharp and the following descent up to the sixth grade f sharp, thus the originally four now seven notes; it contains a reminiscence of the first movement of op. 132 and contrasts with the second part of the variation. This develops a rigid theme, which according to Kerman is “the old schoolroom smell, once again”, “- but perfumed in a quite indescribable way”.

The fourth variation (6/8 time, Adagio) is partially characterized by a dense polyphony.

In the fifth variation (again 2/4 time, Allegretto), double stops create up to eight-part chords (bars 4, 12), and the second half of the theme is notated as repeated eight bars, adding a bar.

The sixth variation in the rather rare 9/4 time "Adagio ma non troppo e semplice" is kept hymnically by the instruction "sotto voce" as well as crescendi and decrescendi in the long quarter chains; this devout mood is disturbed by a sixteenth-note figure, a short tremor almost exclusively in two alternating seconds, in the violoncello.

The coda changes, more clearly than the variations, between Adagio and Allegretto (beginning in C major, later in F major). At the beginning, each of the four instruments plays one to two solo bars with moving eighth note triplets; then the first violin sounds again with this motif. A seventh variation appears in the course of the coda. In the last four bars of the coda, multiple repetitions of the last two bars of the theme end the movement.

Fifth sentence

The five-part fifth movement, whose lively cello motto triad is followed by a general pause , has the character of a joke; its theme mimics the style of a nursery rhyme. Wulf Konold considers the trio recapitulation and the joke recapitulation to be independent, which means that the movement has seven parts. The trio appearing after the second part will be heard again after the first Scherzo recap. In the last part of the Scherzo recap, the entire quartet plays with “ Sul ponticello ” in a bow technique rich in overtones. Beethoven had checked with Karl Holz whether this technique was playable, which the composer affirmed.

Joseph Kerman describes the sentence as “Beethoven's most child-like scherzo in his most mature and complex work of art”.

Sixth sentence

The sixth movement, with its 28 bars, also has the character of a transition. The viola revives the melancholy of the fugue that opened the quartet. The first three tones of the viola represent a reversal of the first three tones of the fugue theme. The dialogue between the upper three instruments is just as melancholy.

At the beginning and at the end (?) Of this movement there are fermatas , so that pauses are only possible at these parts of the quartet.

Seventh sentence

The seventh movement is the only sonata movement of the quartet (a single movement in sonata form within a quartet only exists in Beethoven's quartet works in the E flat major quartet op.74 ; the latter is the first movement). Despite the classic sonata form, the thematic work only focuses on the coda.

The main theme complex consists of three themes: The first theme has more of the character of a motif, the second theme resembles the counter-subject of the " Great Fugue ", the third theme has a plaintive character. The two small seconds of the four-tone motif can be found in all three themes . The double fugato of the development has a similarly strong pathos as the “Great Fugue”.

The sequence of the recapitulation has the character of the classical sonata movement; however, the recapitulation begins earlier than expected. In the recapitulation the main theme appears as a new double fugato.

The 127 bars long coda continues the process of execution (a unique phenomenon in Beethoven's string quartets). The first violin tries twice in vain to break from C sharp minor to D major. At the end of the coda, the main theme must give way to the plaintive theme.

According to Manfred Hermann Schmid , the finale is "overlaid by a second form, the rondo ". Gerd Indorf, on the other hand, does not see any compelling arguments in favor of a rondo and against a sonata movement in the aspects cited by Schmid, such as an early use of the recapitulation and the only complete repetition of the theme at the beginning of the development. In Indorf's opinion, the deviations from the traditional sonata movement scheme serve rather to emphasize the contrasts and to move the climax to the end of the movement.

While Wilhelm von Lenz described the finale as "throwing anchor in the time, space and carefree beyond", the composer Richard Wagner wrote about this sentence:

“That is the dance of the world itself: wild pleasure, painful lamentation, delight in love, supreme bliss, misery, turf, lust and suffering; then it twitches like lightning, the weather rumbles: and above all the enormous minstrel who forces and banishes everything, proudly and safely guided from eddy to whirlpool, to the abyss: - he smiles at himself, because this magic was just a game to him . - So the night beckons him. His day is finished - "

- Richard Wagner : Complete Writings and Seals , 16 volumes, 6th edition, Leipzig undated (1911-196); Volume 9, page 97

effect

After the failure of the “ Great Fugue ”, Beethoven initially resisted any performance of the C sharp minor quartet, although those around him urged a world premiere: “Don't do this to us! Why should it be heard earlier elsewhere than here? ”Said Karl Holz, because he and his colleagues said:“ We want, we have to hear it ”. Nephew Karl also said: "But I also believe that it would be harmful if you heard the (new quartets) in Berlin earlier than here"

Beethoven changed his mind at the end of August and wrote to Schott-Verlag on September 29, 1826: “The work will shortly be given for the benefit of an artist” (this project was no longer possible during Beethoven's lifetime due to his fatal illness become). In the meantime, Karl Holz asked Beethoven for information about the performance.

Shortly after Beethoven's death, the parts were published in June 1827 and the score in February 1828; both published by Schott-Verlag.

The first performance took place on June 5, 1828 in Halberstadt by the quartet ensemble of the brothers Müller sen. instead of. In the same year a review of the quartet by Johann Friedrich Rochlitz was published in the “ Allgemeine Musikischen Zeitung ” . Those who “only wanted to amuse themselves with music - create a pleasant pastime” should “do without those latest works by Beethoven”. All others should approach the work “with concentration and good will, if possible without prejudice [...], with significant, but not false, and not too much general and indefinite expectations”. But you have to hear it several times in order to understand it: “Then let her put up with the fact that her imagination will soon be set in motion almost exclusively for indefinite games; she accepts it until she has become better acquainted with the work ”.

Conductor and composer Ignaz von Seyfried came to the following conclusion in the course of the same year: "There can be no doubt that the author was in a mentally ill mood, disintegrated with himself, probably even haunted by painful misanthropy ".

According to Karl Holz, Beethoven considered the C sharp minor quartet to be his best ("He later declared the C sharp minor quartet to be his greatest"). As the Austrian musicologist Otto Erich Deutsch reported, Franz Schubert is said to have reacted enthusiastically to the quartet when it was played on November 14, 1828 (five days before his death) by Karl Holz, Karl Gross, Baron König and an unknown fourth player in the presence of the Composer Johann Doležalek was played for him.

A public first performance in Vienna took place in 1835, eight years after Beethoven's death, by the quartet ensemble of Leopold Jansa with Karl Holz, who may have played the viola.

The American conductor Leonard Bernstein (1918–1990) recorded the piece in 1977 based on an orchestral version by Dimitri Mitropoulos with 60 strings for the Vienna Philharmonic and described it as his favorite album of all his recordings.

literature

  • Matthias Moosdorf : Ludwig van Beethoven. The string quartets . 1st edition. Bärenreiter, 2007, ISBN 978-3-7618-2108-4 .
  • Gerd Indorf: Beethoven's string quartets: cultural-historical aspects and work interpretation . 2nd Edition. Rombach, 2007, ISBN 978-3-7930-9491-3 .
  • Harenberg cultural guide chamber music . Bibliographisches Institut & FA Brockhaus, Mannheim, 2008, ISBN 978-3-411-07093-0
  • Jürgen Heidrich: The string quartets . In: Beethoven manual . Bärenreiter-Verlag Karl Vötterle, Kassel 2009, ISBN 978-3-476-02153-3 , pp. 173-218
  • Lewis Lockwood : Beethoven: His Music - His Life. Metzler, 2009, ISBN 978-3-476-02231-8 , pp. 344-383
  • Theodor Helm: Beethoven's string quartets. Attempt a technical analysis of these works in relation to their intellectual content . 3. Edition. Leipzig 1885, 1921.
  • Joachim von Hecker: Investigations on the sketches for the string quartet in c sharp minor op. 131 by Beethoven . Diss. (Masch.schr.), Freiburg i. Br. 1956, p. 42
  • Ludwig van Beethoven: works. New edition of all works , section VI, volume 5, string quartets III (op. 127–135), ed. from the Beethoven Archive Bonn (J. Schmidt-Görg et al.). Munich / Duisburg 1961 ff.
  • Ivan Mahaim: Naissance et Renaissance des Derniers Quartuors , 2 volumes. Paris 1964
  • Joseph Kerman: The Beethoven Quartets . New York 1967
  • Ekkehard Kreft: Beethoven's late quartets. Substance and substance processing . Bonn 1969
  • Arno Forchert : Rhythmic Problems in Beethoven's Late String Quartets . In: Report on the international musicological congress Bonn , 1970, Kassel a. a., 1971, pp. 394-396
  • Rudolf Stephan : On Beethoven's last quartets . In: Die Musikforschung , 23rd year 1970, pp. 245–256
  • Emil Platen : A Notation Problem in Beethoven's Late String Quartets . In: Beethoven-Jahrbuch 1971/72 , ed. by Paul Mies and Joseph Schmidt-Görg, Bonn 1975, pp. 147–156
  • Martella Gutiérrez-Denhoff: »… from different this and that.« On the publishing history of the c sharp minor quartet by Ludwig van Beethoven . In: Collegium Musicologicum. Festschrift f. Emil Platen , ed. by Martella Gutiérrez-Denhof. 2nd Edition. Bonn 1986, pp. 122-133
  • Emil Platen: About Bach, Kuhlau and the thematic-motivic unity of Beethoven's last quartets . In: Contributions to Beethoven's chamber music. Symposion Bonn 1984. Publications of the Beethoven-Haus Bonn. New series, 4th series, volume 10, ed. by Sieghard Brandenburg and Helmut Loos. Munich 1987, pp. 152-164
  • Ulrich Siegele: Beethoven. Formal strategies of the late quartets. Music Concepts , ed. by Heinz-Klaus Metzger and Rainer Riehn, issue 67/68, Munich 1990
  • Manfred Hermann Schmid : String Quartet in C sharp minor, Op. 131 . In: A. Riethmüller u. a. (Ed.): Beethoven. Interpretations of his works , 2 volumes. 2nd Edition. Laaber, 1996, Volume 2, pp. 317-326

Web links

Individual evidence

  1. ^ Robert Winter: Compositional origins of Beethoven's Opus 131 . Ann Arbor, MI 1982, p. 114
  2. ^ Ludwig van Beethoven: Correspondence . Complete edition, ed. by Sieghard Brandenburg, 7 volumes. Munich 1996-1998, Volume 6, p. 269
  3. ↑ Ludwig van Beethoven: Correspondence , Complete Edition, ed. by Sieghard Brandenburg, 7 volumes, Munich 1996–1998, volume 6, p. 372
  4. ^ Harry Goldschmidt : Beethoven. Introductions to the works , Leipzig 1975, p. 157
  5. ↑ Gerd Indorf: Beethoven's string quartets: Cultural-historical aspects and work interpretation Rombach; 2nd edition May 31, 2007, p. 452.
  6. ↑ Johannes Forner: Chamber Music , in: Konzertführer Ludwig van Beethoven , (pp. 174-253), Leipzig 1988, p. 216.
  7. ^ Theodor Helm: Beethoven's string quartets. Attempt a technical analysis of these works in connection with their intellectual content , Leipzig 1885, ³ 1921, p. 234 ff.
  8. ↑ Ludwig van Beethoven: Konversationshefte , ed. by Karl-Heinz Köhler, Grita Herre, Dagmar Beck, u. a., 11 volumes, Leipzig 1968-2001, volume 10, p. 163
  9. ^ Wilhelm von Lenz : Beethoven. An art study , 5 volumes (Vol. 1–2 Kassel 1855, Vol. 3–5 Hamburg 1860), Volume 5, p. 226.
  10. ↑ a b Hugo Riemann : Beethoven's String Quartets (Meisterführer No. 12), Berlin undated (1903), p. 140
  11. ^ Robert Winter: Compositional origins of Beethoven's Opus 131 , Ann Arbor, Michigan, 1982
  12. ^ Robert Winter: Compositional origins of Beethoven's Opus 131 , Ann Arbor, Michigan, 1982, p. 120
  13. ^ Robert Winter: Compositional origins of Beethoven's Opus 131 , Ann Arbor, Michigan, 1982, p. 124 and example 13
  14. ↑ Lewis Lockwood : Beethoven: His Music - His Life , Metzler 2009, p. 367
  15. ^ A. Peter Brown: Joseph Haydn's Keyboard Music. Sources and Style , Bloomington, Ind. 1986, pp. 64 and pp. 320-324
  16. ^ Richard Wagner : Complete Writings and Seals , 16 volumes, Leipzig undated (1911–1916), Volume 9, p. 96
  17. ↑ Gerd Indorf: Beethoven's string quartets: Cultural-historical aspects and work interpretation Rombach; 2nd edition May 31, 2007, p. 453 f.
  18. ^ Matthias Moosdorf: Ludwig van Beethoven. The string quartets. Bear rider; 1., ed. June 26, 2007, p. 113
  19. ^ Hans Mersmann : Die Kammermusik , Volume 2: Beethoven , Leipzig 1930, p. 165
  20. ^ Emil Platen : About Bach Kuhlau and the thematic-motivic unity of Beethoven's last quartets , in: Contributions to Beethoven's chamber music , Symposion Bonn 1984 (publications of the Beethoven-Haus Bonn, new series, 4th series, volume 10, edited by Sieghard Brandenburg and Helmut Loos), Munich 1987, (pp. 152-164), p. 163
  21. ↑ Lewis Lockwood: Beethoven: His Music - His Life , Metzler 2009, p. 371
  22. ↑ Gerd Indorf: Beethoven's string quartets: Cultural-historical aspects and work interpretation Rombach; 2nd edition May 31, 2007, p. 454
  23. ↑ Manfred Hermann Schmid : String Quartet in C sharp minor op.131 . In: A. Riethmüller u. a. (Ed.): Beethoven. Interpretations of his works , 2 volumes. 2nd Edition. Laaber, 1996, Volume 2, pp. 317-326, here p. 321
  24. ↑ Joachim von Hecker: Investigations on the sketches for the string quartet in c sharp minor op. 131 by Beethoven Diss. (Masch.schr.), Freiburg i. Br. 1956, p. 42
  25. ^ Wulf Konold , Das Streichquartett. From the beginning to Franz Schubert . Wilhelmshaven 1980, p. 154
  26. ^ Rudolf Stephan : On Beethoven's last quartets , in: Die Musikforschung , 23rd year 1970, (pp. 245–256), p. 255
  27. ^ Friedhelm Krummacher : The string quartet. Handbook of musical genres , Volume 6, Part 1: From Haydn to Schubert . Laaber 2001, p. 263
  28. ^ Harry Goldschmidt : Beethoven. Factory introductions . Leipzig 1975, p. 206
  29. ^ Joseph Kerman: The Beethoven Quartets . New York 1967, p. 333
  30. ^ Joseph Kerman: The Beethoven Quartets , New York 1967, p. 334
  31. ^ A b Emil Platen : About Bach Kuhlau and the thematic-motivic unity of Beethoven's last quartets , in: Contributions to Beethoven's chamber music , Symposion Bonn 1984 (publications of the Beethoven-Haus Bonn, new series, 4th series, volume 10, ed. by Sieghard Brandenburg and Helmut Loos), Munich 1987, (pp. 152-164), p. 163
  32. ^ A b Joseph Kerman: The Beethoven Quartets , New York 1967, p. 335
  33. ↑ Gerd Indorf: Beethoven's String Quartets: Cultural History Aspects and Work Interpretation , Rombach 2007 (2nd edition), p. 469
  34. ↑ Ludwig van Beethoven: Konversationshefte , ed. by Karl-Heinz Köhler, Grita Herre, Dagmar Beck, u. a., 11 volumes, Leipzig 1968-2001, volume 10, p. 113f.
  35. ^ Joseph Kerman: The Beethoven Quartets . New York 1967, p. 338
  36. ^ Gerd Indorf: Beethoven's string quartets: Cultural-historical aspects and work interpretation . 2nd Edition. Rombach, 2007, p. 470 f.
  37. ^ Gerd Indorf: Beethoven's string quartets: Cultural-historical aspects and work interpretation . 2nd Edition. Rombach, 2007, p. 472
  38. ↑ Manfred Hermann Schmid : String Quartet in C sharp minor op.131 . In: A. Riethmüller u. a. (Ed.): Beethoven. Interpretations of his works , 2 volumes. 2nd Edition. Laaber, 1996, Volume 2, pp. 317-326, here p. 322
  39. ↑ Gerd Indorf: Beethoven's string quartets: Cultural-historical aspects and work interpretation Rombach; 2nd edition May 31, 2007, p. 472f.
  40. ^ Wilhelm von Lenz: Beethoven. An art study , 5 volumes. Kassel and Hamburg 1855-1860, pp. 261ff.
  41. ↑ a b Ludwig van Beethoven: Konversationshefte , ed. by Karl-Heinz Köhler, Grita Herre, Dagmar Beck, u. a., 11 volumes, Leipzig 1968-2001, volume 10, p. 52
  42. ↑ Ludwig van Beethoven: Konversationshefte , ed. by Karl-Heinz Köhler, Grita Herre, Dagmar Beck, u. a., 11 volumes. Leipzig 1968-2001, volume 10, p. 32
  43. ↑ Ludwig van Beethoven: Correspondence , Complete Edition, ed. by Sieghard Brandenburg, 7 volumes. Munich 1996-1998, Volume 6, No. 2215, p. 3294
  44. ↑ Stefan Kunze (ed.): Ludwig van Beethoven. The works in the mirror of its time. Collected concert reports and reviews up to 1830. Laaber 1987, p. 576
  45. ^ Wilhelm von Lenz: Beethoven. An art study , 5 volumes (Vol. 1–2 Kassel 1855, Vol. 3–5 Hamburg 1860), Volume 5, p. 217
  46. ↑ Otto Erich Deutsch : Schubert. The documents of his life , Kassel etc. 1964
  47. ↑ from the book: Jonathan Cott: Dinner with Lenny , 2012