Beethoven house

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Beethoven House, Bonn
Beethoven House.jpg
Beethoven's birthplace in Bonngasse
place Bonn
Museum, memorial and cultural institute
opening 1893, foundation of the association in 1889
Number of visitors (annually) 100,000
Malte Boecker
ISIL DE-MUS-024219

The Beethoven House in Bonn is also a memorial, museum and cultural institute with a wide range of tasks. Founded in 1889 by the Beethoven-Haus association, the person of Ludwig van Beethoven is connected here with the cultivation of his music and research into the life and work of the composer.

In the center is Beethoven's birthplace at 20 Bonngasse with the museum. The research center (Beethoven archive) with its collection, library and publishing house as well as the chamber music hall are housed in the surrounding buildings (Bonngasse No. 18 and 24–26). They serve music lovers and experts from all over the world alike as a place of meeting and exchange. The Beethoven-Haus is supported by the Beethoven-Haus Association and by the public sector.

The house in Bonngasse

History of the house

Portal of the house

The house Bonngasse 20 (formerly: 515) with a baroque stone facade was built around 1700 on an older cellar vault. It is one of the few surviving town houses from the electoral era. The building was in the quarter preferred by the court staff in the heart of the city, between the city palace, the old town hall with the market square and the banks of the Rhine. Today there is a pedestrian zone here, not far from Bonn 's Beethoven Hall and the opera . In the first half of the 18th century, another, somewhat smaller half-timbered house was built on the property behind the house. At times, five families lived in the multi-storey front and rear building, and three tailors and a master shoemaker had their workshops here.

In 1836, the entrance door became a Thor input widened. After Beethoven's friend, the doctor Franz Gerhard Wegeler , and the teacher Carl Moritz Kneisel had clearly identified the rear part as the birthplace of Ludwig van Beethoven only around 1840 , the new owner opened an inn on the ground floor in 1873 called Beethoven's birthplace . It was expanded in 1887 to include a beer and concert hall in the courtyard. 1888 took over grocer 's house, but offered it a year later again up for sale. Thanks to the Beethoven-Haus association , which was founded in 1889 to preserve it and purchased the house, it was saved from demolition.

The next few years were dominated by the renovation and expansion of the memorial. At that time, essential parts of the building were still as they were in the second half of the 18th century. In order to maintain spacious museum rooms, the floor plans in the main building were changed and a club office, a library and a caretaker's apartment were set up. The structural changes in the Beethoven apartment were largely limited to the stairs and the passageways to the front building; they were carried out under the direction of the Bonn architect and government master builder Anton Zengeler , one of the twelve founders of the Beethoven-Haus association.

In order to preserve the character of the Beethoven birthplace in its contemporary environment and to secure the existing building technically, the association acquired the neighboring house No. 22 in 1893, which it sold again after a fire wall had been put in place. In 1907, the building ensemble on the right was supplemented with the purchase of house no. This house is one of the oldest preserved buildings from the 18th century in Bonn. Ludwig van Beethoven's godmother, Gertrud Baum, lived here with her family. According to tradition, Beethoven's baptism was celebrated here on December 17, 1770. The house housed a grocery store in the mid-19th century. The house sign and the nickname Im Mohren come from this time . The figure is designed according to the ideas of the 19th century. The dark skin color and the attributes feather headdress and pipe refer to various oppressed peoples in Central and South Africa as well as America. In the course of colonial history in the 19th century at the latest, the concept of the Moor developed into a negative stereotype through enslavement and colonialism and cannot be historically separated from it. In 1927 the newly established Beethoven Archive moved to Bonngasse 18. Extensive repairs to both houses were carried out in the mid-1930s. Like the house where he was born, Bonngasse 20, this building with the facade has been a listed building since 1985.

144 cents permanent stamp from Germany (2003) with the Beethoven House from the Sights series

The Beethoven-Haus survived both world wars almost unscathed. During the Second World War , the later association chairman, senior building officer Theodor Wildeman, as deputy provincial curator, ensured that the collections were stored in a tunnel near Siegen in Siegerland in good time and that there were no war losses. During the attack on downtown Bonn on October 18, 1944, an incendiary bomb fell on the roof of the birth house. Thanks to the work of the caretaker Heinrich Hasselbach and Wildemans, who later received the Federal Cross of Merit, and Franz Rademacher from the Rheinisches Landesmuseum, major damage could be prevented. This war damage was repaired in the early 1950s. The third renovation took place at the end of the 1960s. In 1998, the Beethoven House was the first institution in Germany to receive the " Europa Nostra Monument Preservation Prize" , which has been awarded since 1978, for the fourth, fundamental restoration of the buildings between 1994 and 1996.

In January 2003, Deutsche Post AG issued a stamp with the Beethoven House motif. The stamp belonged to the definitive series of sights .

Apartments of the Beethoven family

Reiner Beißel: Beethoven's birth room (drawing / 1889)
Beethoven's birth room until 2019 - with a Beethoven bust by Josef Danhauser (1827 / plaster cast)

In 1767, after his marriage to Maria Magdalena Keverich (1746–1787) from Koblenz / Ehrenbreitstein , the electoral court singer Johann van Beethoven (1740–1792) moved into the garden wing of the house at 20 Bonngasse . His father, the conductor Ludwig van Beethoven (1712–1773), the composer's grandfather, moved into an apartment in the house across the street. The court musician Philipp Salomon lived in the front building with his family, whose son Johann Peter Salomon would later become important to Beethoven as a friend of Joseph Haydn . On the first floor of the Beethoven apartment there was a kitchen and a utility room with a basement. The family lived in two smaller and one larger rooms on the first floor.

Above in the attic was the parents' bedroom, a tiny chamber in which, according to tradition, their son Ludwig was born on December 16 or 17, 1770 and was baptized on December 17, 1770 at the baptismal font of the Bonner of the St. Remigius Church. The godfather and namesake was grandfather Ludwig van Beethoven (1712–1773), the respected court conductor, singer and wine merchant. The event took place with the godmother Anna Gertrud Baum geb. Müller celebrated in the neighboring house Im Mohren . The family grew rapidly. But of the seven children besides Ludwig, only two brothers reached adulthood: Kaspar Anton Karl (1774–1815) and Nikolaus Johann (1776–1848).

As early as 1774, the Beethoven family moved to Rheingasse No. 24, to the Zum Walfisch house of the master baker Fischer, where his father and grandfather Ludwig van Beethoven had lived for a while. The family of musicians received their maintenance from the electoral court, in whose orchestra the young Beethoven also played from 1784. Father and son also contributed to the income through private music lessons, especially in the families of the noble court officials. During these years in Bonn friendships arose with noble and middle-class families such as the widow of the court councilor Helene von Breuning and her children Stephan , Christoph, Eleonore and Lorenz, the family of the violinist Franz Anton Ries and Franz Gerhard Wegeler. Many of these relationships lasted a lifetime and shaped Beethoven's education more than the few years of schooling. Another move to Wenzelgasse 25 took place in 1785. Of these homes of the Beethoven family, however, only the house where the Beethoven was born in Bonngasse has survived.

The museum

The museum was opened on May 10, 1893, during the second chamber music festival, expanded several times and now houses the largest Beethoven collection in the world.

Museum building

View of the garden from the 1st floor

The museum comprises two originally separate buildings, the front building and the extension to the garden, in which the composer spent his early years. When the house was set up for museum purposes, the two houses were connected. Angled room layout, low rooms and the creaking steps and floorboards in the rear building in the 18th century building, which is now a listed building, give an impression of the living conditions at that time.

Permanent exhibition

The permanent exhibition was renewed several times in the 20th century. The original conception focused on the reconstruction of the house and the presentation of many objects. The guiding principle of the last redesign of the rooms and the exhibition in 1995/96 was the “fascination of the authentic”. About 150 exhibits were shown, mostly from the company's own collection. Portraits, manuscripts, printed music, musical instruments and everyday objects tell of Beethoven's life and work. In connection with the preparations for the anniversary year of Beethoven's 250th birthday in 2020, the premises of the museum were expanded and the permanent exhibition was fundamentally redesigned. On December 17, 2019, at the start of the anniversary year of Beethoven's 250th birthday, the museum was reopened in a new shape. The permanent exhibition, which was created in collaboration with the Swiss architects Holzer Kobler and 2xGoldstein, Studio TheGreenEyl and Lichtvision Design, is no longer chronologically but thematically oriented. For example, Beethoven's circle of friends and sponsors, Beethoven's everyday life as an artist and as a person with physical limitations are presented. Media resources complement the objects sensibly. The house itself, whose authenticity has been preserved, is staged as an exhibition piece by the color of the rooms and exhibition furniture.

The Secret Annex

The exhibition in the Secret Annex, the actual home of the Beethoven family, has been extensively and unconventionally renovated and redesigned. On the ground floor, a diorama illustrates the Bonn city center between the Bonn Minster, the electoral palace, the market square and Bonngasse at the time of the young Beethoven. On the floor above the visitor gets an impression of five important early works by the composer in a sound room. The presumed parents' bedroom, traditionally referred to as the “birth room”, remained the nucleus of the exhibition, but was given a completely new character. The room is now accessible and, thanks to a mirrored surface and media recordings, becomes a sensual, poetic place to meet Beethoven.

Treasury and music room

A "treasure chamber" has been set up in the basement of the neighboring house, in which changing features from the collection of the Beethoven House are presented in the original under optimal conservation and museum conditions. Above that, a music room has been set up for small-scale concerts in which historical instruments from Beethoven's time can be heard.

The garden

In the garden of the Beethoven-Haus you can see a collection of Beethoven busts that have been created since the beginning of the 20th century:

Special exhibitions

In addition to the permanent exhibition, themed special exhibitions lasting several months take place. They are often based on a current occasion, such as B. New acquisitions or anniversaries. In 1998 the newly arrived Wegeler Collection was presented. In 2006, on the 50th anniversary of the acquisition, a retrospective of the Bodmer Collection was shown. In 2010 the autograph of the Diabelli Variations was presented to the public and explained in its context. On other occasions, contemporaries were brought to life by means of collection objects, supplemented by objects from external lenders. B. Beethoven's teacher Christian Gottlob Neefe (1999), the Streicher family (1999) and the Breitkopf & Härtel publishing house (2007), Johann Wolfgang von Goethe (1999) and Moritz von Schwind (2004/2005). In addition, earned Beethoven researchers, such as the diplomat and Beethoven biographer Alexander Wheelock Thayer (1817-1897) in 2010, on the 100th anniversary of the publication of the last volume of his Beethoven biography in 1911, or Max Unger (2000) with one Exhibition honored. The reception of Beethoven by musicians such as Johannes Brahms (1997), Richard Strauss (2002) or Paul Hindemith (2009), and artists such as Rodin's pupil Naoum Aronson (2003) or Joseph Beuys (2005) was also the subject of special exhibitions. The topics of in-house master courses and specialist conferences were brought closer to a wider public through special exhibitions, such as Beethoven's string quartets (2011), his piano sonatas (2012) or his dedication behavior (2011). In 2014, the 125th anniversary of the founding of the Beethoven-Haus association in 1889 was commemorated with an exhibition on the eventful and moving history of the Beethoven-Haus . The Beethoveniana in Stefan Zweig's autograph collection and its path show a side of the writer that has been little known until now. The Beethoven House in Bonn during the Nazi era . With this special exhibition 2017, the Beethoven-Haus Bonn addresses the self-alignment of the house after the National Socialists came to power with the introduction of the Führer principle under the direction of Ludwig Schiedermair .

For a number of years, accompanying exhibitions have also been presented to the City of Bonn 's Beethoven Festival. In 2009, under the motto “The Power of Music”, theater and concert programs for Beethoven performances were brought together in the German prisoner-of-war camp in Bando in Japan. In 2010 they dedicated themselves to Beethoven's chamber music, with which he dared to venture the furthest "into the open" (that was the motto of the Beethoven Festival at the time). Accompanying publications each deepen the topic. Some special exhibitions are archived on the house's homepage and are permanently accessible there.

Since the renovation in 2019, special exhibitions have been shown on the ground floor of the neighboring house. From December 17, 2019 to April 26, 2020, the central portrait of Beethoven and his author, the painter Joseph Stieler, will be presented in the best company . Further exhibitions will follow.

Digital Beethoven House

The studio for the digital presentation of over 6000 digitized documents from the Beethoven-Haus property, such as manuscripts and first prints of Beethoven's works, letters and pictures, has moved to the building opposite, together with the museum shop. There is also space for lectures and seminars.

Internet offer

The Beethoven-Haus website has been online since 2004. This offers visitor information about the museum and concert programs as well as the opportunity to order tickets. The museum, chamber music hall and library can be visited in virtual tours. In addition, a steadily growing number of currently (2011) over 6000 digital copies of music manuscripts, letters, first editions and early prints, images and objects is available in the digital archive . Those interested can find out more about research topics and results and the publisher's publications. For conception and design, the Beethoven-Haus was awarded the title Master of Excellence at the 17th Corporate Media Masters Competition in 2005 . The Beethoven-Haus website has also been given a new, contemporary look.

The chamber music hall

The chamber music hall

In addition to the goals of music history, the Beethoven-Haus association has always looked after the practical side of music by organizing chamber music festivals and concerts in its own rooms. The Beethoven-Haus was enriched in the anniversary year of the 100th anniversary of the association in 1989, with the opening of the newly built chamber music hall next to the birthplace. It is named after the then chairman of the association, Hermann Josef Abs , who initiated the construction and financed it with a generous donation. Designed in the classic tradition of a semi-oval amphitheater , the hall with its 199 seats has excellent acoustics and a particularly intimate atmosphere. The architects Thomas van den Valentyn and Klaus Müller have received several prizes for this (the German Architecture Prize 1989, the Mies van der Rohe Prize 1990 and the Gold Award for interior design in 1991).

By working together with the other departments of the Beethoven House, the Chamber Music Hall offers special opportunities to set accents in concert life. It is also used by other organizers for concerts, conferences and special celebrations.

Concerts and events

Concert series

Based on Beethoven, the annual program of the Chamber Music Hall with around 40 of its own events stands for both tradition and new beginnings: Classical chamber music interpreted by well-known ensembles and soloists as well as young artists at the beginning of their careers. Concerts on historical instruments take you back to Beethoven's time, contemporary jazz offers space for improvisation and inspiration, family concerts and events for elementary schools invite children and parents to “experience classical music”, and thematically oriented series and discussion concerts enable intensive encounters with composers and times and cultural phenomena. The department heads are responsible for the program design and artistic direction of the chamber music hall. Since 2014, the Beethoven Week, which takes place in the last week of January, has resumed the tradition of regular chamber music festivals in order to be continued in the 21st century as a unique music festival for Beethoven's music. For eight days, renowned ensembles and soloists give concerts on a key work by Beethoven, which is musically followed and explained from the time it was written to contemporary music.

Promotion of young talent

In the spirit of Beethoven as a teacher, the Beethoven-Haus has been organizing research-oriented preparatory courses for students and budding musicologists on selected topics from Beethoven research since 2007. The masterclasses initiated by Kurt Masur in 2006 are aimed at promoting young musicians . Initially only for conductors, since 2010 also for chamber music ensembles, well-known artists work on Beethoven's compositions in public rehearsals with young musicians. At the same time, the employees of the Beethoven Archive introduce the young musicians to the handwritten sources, discuss philological, music-historical and performance-related topics with them or give suggestions for the interpretation of Beethoven's works.

Composer residency and mentoring

Credo II - copyright by Mark Alexander / Mick Vincenz

Since 2013 the Beethoven House has been using the Villa Wasmuth , the former home of the art collector Johannes Wasmuth (1936–1997) in Rolandswerth (Rolandseck, Rhineland) as a guest and conference center. In addition, the Hans Arp and Sophie-Taeuber-Arp e. V. owned house for projects of the Beethoven House to promote young talent.

In cooperation with the German National Academic Foundation, the Beethoven-Haus has been awarding scholarships since 2013 to young composers who work on their composition projects for a month under the supervision of mentors, which will be premiered at the end.

The Beethoven-Haus has also had mentoring since 2013, supported by the Rotary Club Bonn and the Arp e. V. Up-and-coming artists and young scientists are given the opportunity for one year to advance their scientific or artistic studies through direct access to the sources and facilities of the Beethoven-Haus, supported by the staff of the Beethoven-Haus and honorary members. Mentees have previously been chamber music ensembles such as the Elias String Quartet (2013) and the Trio Rafaele (2015), soloists such as the pianists Sunwook Kim (2013), Rafael Lipstein and Olga Pashchenko (2014), Karim Said (2015) and the cellist Jonas Palm ( 2015). The Swiss doctoral student Dominique Ehrenbaum deepened his studies on the instrumental fugue in Ludwig van Beethoven's late work (2013). From January 2014 to spring 2015, the Villa Wasmuth served the British painter Mark Alexander as a studio in order to contribute to the picture collection on behalf of the Beethoven House. The result was a cycle of five paintings based on the famous Beethoven portrait by Joseph Karl Stieler. Alexander presented the Credo II picture to the Beethoven House.

Music and museum education

Children and young people are introduced to the composer and his work in a playful way. House employees organize guided tours for children, holiday workshops and museum afternoons. Children who play instruments meet several times a year in the chamber music hall to play Beethoven's works in shortened and lightened versions in the orchestra. In addition, there are concerts for children and various museum educational projects for elementary schools with corresponding accompanying material. Up to 1000 primary school children attend the “scenic school concerts” every year. The elementary school project Beethoven and his house - mobile became 2011 in the competition Kinder zum Olymp! awarded by the Kulturstiftung der Länder as a final participant and received cooperation in the competition . Specifically, the education partner NRW won first prize in 2111 .

In 2007 a special website for children called Hallo Beethoven was launched . On this, topics such as Beethoven's family, his school days and friends, his daily routine, his illnesses are presented in a child-friendly manner and the social and political background of his life is presented. The site was recommended by the Federal Agency for Civic Education for Schools and Classes.

Science and Research

According to the statutes that are valid today, as determined by the founding fathers in 1889 and 1896, the purpose of the association is "the care of the memory and work of Ludwig van Beethoven", as well as the promotion of art and culture, science and research, monument protection and monument preservation. Accordingly, the tasks of the Beethoven-Haus are to collect, preserve and develop manuscripts, pictures, original documents, original editions and early prints as well as publications that relate to Beethoven and his cultural environment. Beethoven research is to be promoted through research projects, publications and symposia. Exhibitions and educational measures in the museum are to be carried out, publications and recordings on Beethoven's life and work are to be created and distributed, and musical performances are to be promoted and organized. In addition, there is the promotion of international cooperation with other societies, research and cultural institutes in Germany and abroad that deal with Beethoven.


Joseph Karl Stieler : Portrait of Beethoven with the score for the Missa Solemnis

The oldest tradition among the resulting activities is the collection. In the more than 120 years of its existence, the largest and most diverse Beethoven collection has been created. It comprises more than 1000 original manuscripts (sketch sheets and sketchbooks, autographs, copyist's transcripts checked by Beethoven, conversation books, around 700 letters), as well as printed works with entries by Beethoven himself, supplemented by musical instruments, furniture, memorabilia and props from Beethoven's everyday life. In addition, the art-historical collection with over 3000 pictures, photographs and sculptures is significant. She owns three quarters of all authentic Beethoven portraits, including the famous painting by Joseph Karl Stieler (1820). With the help of private and public foundations and patrons, donations or permanent loans, the collection is growing continuously. The most important new acquisitions of the last 10 years include the purchase of the engraver's copy of the Missa solemnis (op.123) in 2005 and the original manuscript of the 33 changes on a waltz by Anton Diabelli for piano ( op.120) in December 2009 . Climatically and conservationally adequate rooms in the new building and a safe ensure proper storage. A changing object of the month shows visitors to the museum selected examples.

Beethoven archive

Baptismal register of the Remigius Church in Bonn from December 17, 1770 with the entry "Ludovicus van Beethoven"

The Beethoven Archive, the scientific department of the Beethoven House, is housed in the outbuildings of the birthplace. It was founded in 1927 on the occasion of the 100th anniversary of Ludwig van Beethoven's death on March 26th as a “Foundation at the Beethoven House Association”, originally with an independent administration and close ties to the University of Bonn. The Bonn musicologist Ludwig Schiedermair was the initiator, founding member and first director until 1945 . He was followed from 1945 to 1972 by Joseph Schmidt-Görg and Günther Massenkeil (1972–1974, interim until 1976). All three were at the same time full professorships in the musicology seminar. From 1976 until he moved to the University of Göttingen in 1983, Martin Staehelin held the office. He was followed in 1984 by Sieghard Brandenburg , who has been a department head since 1998 under the newly established director's position at the Beethoven House. From 2003 to the end of 2006 Ernst Herttrich, who had been head of the complete edition from 1990 and head of the Beethoven-Haus Bonn publishing house from 1998, headed the Beethoven archive. From 2007 to 2015 Bernhard R. Appel was head of the archive and the publishing house. He was followed by Christine Siegert in 2015.

The main purpose of the Beethoven archive was to set up a documentation center on Beethoven's life, work and spiritual circle. For this purpose, a “complete” Beethoven library should be set up and all editions of Beethoven's works in originals and all preserved music manuscripts of the master in photographic reproduction, “which can replace the originals when studying”, should be collected. These documents were to be supplemented by facsimile replicas of all testimonials “which are of importance for the biography and artistic work” and the collection of “materials necessary for studying the intellectual sphere of Beethoven's art and his time”. The Beethoven archive as "a center of Beethoven research ... (should) thereby also serve the general artistic interest".

The reprographic collection started at that time now comprises over 11,000 autographs, sheet music, letters, life documents, music prints and other sources from over 200 libraries and archives. It forms the basis for the field of activity of philological research and editing.

The Beethoven-Haus is therefore a predestined venue for scientific congresses under the auspices of the Beethoven Archive, such as 2011 on Beethoven and Joseph Haydn's dedication behavior or in the anniversary year 2014 for the Vienna Congress (1814/15). With Beethoven in exile and Beethoven and Rossini , the topics were in 2018. In February of the anniversary year 2020, an international scientific congress appropriate to the anniversary will take place with the title Beethoven-Perspectives . In addition, the employees of the Beethoven Archive regularly participate in domestic and foreign events on Beethoven research such as symposiums and seminars.


The archive holdings are supplemented by the literature and sheet music collection of the library, which has existed since the Beethoven House was founded. It became the property of the archive in 1927, while the manuscript collection remained in the care of the Beethoven-Haus association. The library serves primarily to supply the house with literature and as a research library, but is also designed as an archive library with its own collections of sources. The library management is also responsible for cataloging, the digital archive and the website of the Beethoven-Haus. The library maintains the main focus of the collection of original, first and early prints of works by Beethoven and people from his environment, scientific literature in essay and book form, literature and magazines in a broader historical and cultural context as well as sound carriers. It not only documents Beethoven's works and their reception, but also the historical and personal environment of the person. In addition to 50,000 books and articles, 160 magazines, 27,000 pieces of music, 6500 of them Beethoveniana, over 11,000 photo and microfilm recordings and 2,500 AV media are available. It was able to expand its holdings considerably through bequests, special purchases and donations from private collectors (including from Herbert Grundmann, Hans Klingemann, Freiherr von Geyr, Hanns J. Eller, Klaus Steltmann). The most important of these are the Hans Conrad Bodmer collection with over 850 objects, which the Swiss doctor and Beethoven collector bequeathed to the Beethoven-Haus in 1956, and the collection of the Beethoven friend and biographer Franz Gerhard Wegeler with more than 400 items, which were sold in 1998 came on permanent loan to the Beethoven-Haus. The library also keeps personal papers, e. B. by Anton Schindler , Theodor von Frimmel and Max Unger . With a stock of almost 100,000 media units with bio-bibliographic data, it is now the largest publicly accessible special library on Beethoven. Your reading room with reference library is frequented by users from all over the world. You are working at a historic quartet table at which Beethoven may have played himself.


Complete edition and facsimile editions

Evaluating the collection and making it scientifically usable is done through the work of the Beethoven archive. With the growing number of different editions of the work and the inquiries about Beethoven's interpretation, the plan for a new complete edition grew. A complete edition published by the Breitkopf & Härtel publishing house in Leipzig had existed since 1863–1865 / 1888, but it was only based on the printed versions of Beethoven's works known at the time. Since then, however, some works had been newly discovered or pieces that had not yet been printed (e.g. many works without an opus number) had not been included in the old edition. In addition, the demands on historical-critical editions of works had changed. Postponed by the turmoil of the Second World War, the first volume of the New Beethoven Complete Edition, founded in 1959, was published by G. Henle Verlag in 1961 . To this day it is the archive's most important scientific undertaking. 56 volumes are planned, arranged according to genre of composition and instrumentation. The aim of the edition, compiled by the academic staff of the Beethoven Archive and internationally recognized musicologists in cooperation, is to determine the musical text intended by Beethoven, but not always left in a clear form, through a critical comparison of the authentic sources, and to include it in a critical report justify and publish in modern rendering. With the cooperation of the Beethoven Archive, the catalog of works published by Georg Kinsky and Hans Halm in 1955, which was then pioneering, was subjected to a fundamental revision and update in accordance with the latest research in a project lasting several years. The new catalog raisonné (LvBWV) appeared in 2014.

The goals of the founders of the Beethoven-Haus: collecting, preserving the originals, scientifically processing and making them available for research and the interested public alike, are served by the publication of selected manuscripts in facsimile editions. Postponed due to other tasks, it was re-launched in 1953 by Joseph Schmidt-Görg and continued by his successors. Not only work manuscripts and original editions are facsimile and published by the publisher, e. B. the Waldstein Sonata op. 53, songs based on texts by Johann Wolfgang von Goethe, the Six Bagatelles for piano op. 126 or the Sonata for violoncello and piano op. 69, but also written documents such as letters, e.g. B. to Josephine Countess Deym geb. v. Brunsvik, or To the Immortal Beloved , Beethoven's diary 1812–1818 or Beethoven's family book, the farewell present from Bonn friends before leaving for Vienna in 1792.

Sketch research

Sketches for Beethoven's Piano Sonata op.101

As an important task for Beethoven research, the Beethoven Archive focused on sketch research from the start. But it was not until 1952, under Joseph Schmidt-Görg, that the edition of scientifically prepared and commented sketches and drafts by Beethoven for his compositions began. Sieghard Brandenburg continued the series from 1972, supplemented in 2003 by the Beethoven Sketchbook Series by William Kinderman (Illinois). Up to 2013 there were 13 sketchbooks. Since 2014, the Beethoven Archive ( Bernhard R. Appel ) and the Musicology Seminar in Detmold ( Joachim Veit ) have been running the 16-year project Beethoven's Workshop - Genetic Text Criticism as part of the academy program of the Union of German Academies of Sciences (Mainz) Digital music edition to research Beethoven's way of working. In this basic research project, Beethoven's compositional work process is to be reconstructed and digitally represented using certain sketches. Using the example of Beethoven, new possibilities for text criticism in musical works and appropriate digital forms of presentation are to be developed.

Correspondence and conversation books

The complete edition of Beethoven's correspondence was tackled under the direction of Sieghard Brandenburg. The six volumes (letters 1783–1827) and a comprehensive register volume were also published by G. Henle-Verlag in 1996/1998. An eighth volume with additional non-letter documents on the life and work of Beethoven is in preparation. Around 600 (a good half of them also as audio letters) of the more than 2,300 letters are true to the original in the digital archive, with text transcription, table of contents and source description.

Ludwig Schiedermair drew up the plan for a complete edition of the conversation books back in the late 1920s. The edition was tackled and carried out, however, by the Prussian and later the German State Library in Berlin. Between 1972 and 2001 the almost 140 well-known booklets by Anton Felix Schindler (1795–1864) from Beethoven's legacy were published in eleven volumes.

Publishing house and series

Pastoral symphony

The publications resulting from the work of the employees of the Beethoven-Haus were published by the company's own publishing house from the start. Many of the editions of the Beethoven archive appear in the various series of the in-house publisher. The first series under Ludwig Schiedermair as the general editor produced ten volumes from 1920 to 1934, mostly commented on original Beethoven documents with facsimile, but also monographs. After the war it was continued with the "New Series". The new series 1 includes sketches and drafts and is thus an expression of the great importance that has been attached to sketch research from the very beginning. The Beethoven yearbook was published in series 2 from 1953/54 to 1973/81 . It was replaced in 1999 by the periodical Bonner Beethoven-Studien published in series 5 . In addition to source and interpretation-oriented specialist articles on Beethoven's life and work as well as the history of reception, these volumes also contain an annual review of the activities of the Beethoven-Haus, the Beethoven-Archiv and the Beethoven-Haus publishing house. The third row is dedicated to the facsimile editions. For the facsimile of the Pastoral Symphony (op. 68) (vol. 14, 2000) and the facsimile edition of the Moonlight Sonata (op. 27,2) (vol. 16, 2003) the publisher was awarded the German Music Edition Prize. The Beethoven-Haus received the German Music Edition Award as “Best Edition” in 2008 for the publication accompanying the Beethoven exhibition and the Leipzig music publisher Breitkopf & Härtel, as well as in 2013 for its publication Beethoven im Bild in the series “For connoisseurs and lovers” (2012 ).

In the fourth series of publications on Beethoven research , conference reports, dissertations and monographs on research related to Beethoven and Beethoven are published. Among other things, books were published on the history of his family and his homes, on Beethoven's reception in France and on Beethoven's influence on the reception of early music. Others have individual works or work genres, such as the instrumental fugue, or questions of interpretation on the topic. Reports on scientific congresses organized by the Beethoven-Haus also appear here, such as dedications by Haydn and Beethoven (2012/2015) and the Vienna Congress 1814/15 (2014/2016). The processing of the history of the Beethoven-Haus association also finds its place here.

The Beethoven-Haus publishing house not only publishes literature on Beethoven research, in which it also includes contributions from external scholars, but also publications accompanying the special exhibitions, books for music lovers, for children and CDs. There is close cooperation with G. Henle-Verlag, Munich, which publishes the large edition series of Beethoven's works and the correspondence.

Documentation and catalogs

All of these publications and the other library holdings of literature, manuscripts, pictures, press articles and sound carriers are made accessible through various catalogs which are also available and can be used online. The library catalog alone comprises over 800 biographical representations of Beethoven, monographs of works, studies of sketches and sources, writings on performance practice and instrument studies, music history studies, Viennensia and Bonnensia, bibliographical and lexical reference works, historical journals, especially from the 19th century, documents and studies on the history of reception Programs in the common European languages. The goal of recording everything possible has already been given up in the press archive. Local history and reviews of Beethoven literature determine the selection here. Among the printed music, the original editions, i.e. H. the first prints arranged by Beethoven himself, as well as other editions of parts and scores that appeared during Beethoven's lifetime, take precedence. In addition, there are editions of important editors or publishers, arrangements, pocket scores and critical new editions by other publishers. In addition to the Beethoven music, a collection of early prints of works by Beethoven's composing contemporaries is maintained. Sound carriers from shellac and long-playing records to music cassettes and CDs to Beethoven films with a focus on complete recordings and rare recordings are also included. The recording is not limited to the recording of the title, but also provides more information on the content, provenance or origin and a brief description, especially in the case of older, rare or more extensive publications and sheet music prints as well as the sheet music manuscripts. Extensive keywording provides additional information and makes research easier. A currently initiated project is the reconstruction of Beethoven's own library, as it gives an insight into Beethoven's thinking and his intellectual environment. The list of books and music known from the sources and the estate, which the composer read, studied, copied, excerpted, set to music, borrowed, lent, gave away or noted down for purchase, would be long. But even the core of what Beethoven owned, his own collection of books and music, is only known in outline. The aim is therefore to research them more closely and collect them in the Beethoven House. Librarians and academics contribute their knowledge to the investigation, antiquarians and private collectors facilitate acquisition through special conditions. Friends of the Beethoven-Haus can take part in the purchase and restoration of books by sponsoring books.

Audio documentation of Beethoven's original instruments

In order to bring Beethoven's original instruments, which the Beethoven-Haus owns, to sound not only in concerts, a separate series of CD productions was established by the house. Well-known musicians such as Tabea Zimmermann, Daniel Sepec, the Schuppanzigh Quartet, Jörg Demus and Andreas Staier play works by Beethoven and his contemporaries on Beethoven's string instruments and fortepiano by Broadwood and Graf. The legendary visits by Pablo Casals in 1955 and 1958 to the Beethoven House, during which he also played Beethoven's cello, were also documented here.

The Beethoven House Bonn Association

History and activities of the association

Since the city of Bonn was not interested in the preservation of Beethoven's birthplace in 1888, twelve art-loving Bonn citizens and rentiers joined forces and founded the Beethoven-Haus association on February 24, 1889 ( legal form under the old law ), of which Ferdinand August Schmidt was co-founder and chairman acquired the property in order to set it up as a memorial. Her aim was not only to restore the house where he was born “as it was in Beethoven's youth”, but also to set up a collection containing all of his works in manuscripts and printed editions, his letters, images and other relics as well as all literature about him "Everything that conveys sensual and spiritual contact with him" should include with the aim of acquiring the house and keeping it as a memorial.

Joseph Joachim (1831–1907), honorary president of the Beethoven House Association

The purchase cost 57,000 marks, with a further 24,000 marks for the restoration. To support their project, the founding fathers won numerous personalities from politics, art and science as honorary members, including Chancellor von Bismarck, Count von Moltke, Johannes Brahms, Clara Schumann, Max Bruch and Giuseppe Verdi. In 1890 the association had 344 members, a quarter of them from abroad, including 35 British and 11 Americans. The honorary presidency was taken over by the violinist Joseph Joachim (1831–1907), who had made a name for himself as an interpreter of Beethoven's Violin Concerto in D major (op. 61) and who helped Beethoven's string quartets to break through with his Joachim Quartet . In 1890 the association brought the Beethoven-Haus chamber music festivals to life every two years. Under the direction of Joseph Joachim and with the commitment of recognized musicians, their benefit concerts created a financial basis for the maintenance costs of the buildings and for the club's activities. During the 1st Chamber Music Festival, the largest Beethoven exhibition to date took place, in which 360 loans from all over Europe were shown.

Finnish politicians visit the Beethoven House on March 15, 1960

On May 10, 1893, during the second chamber music festival , the Beethoven House was also opened as a memorial and museum for Beethoven's life, work and impact. The tasks were formulated as follows in the statutes of 1896: Maintaining the memory of Ludwig van Beethoven through the museum and collection, organizing musical performances, competitions and grants, and own literary publications. In the following decades, the activities of the Beethoven-Haus association were shaped by the chamber music festivals (30 festivals up to 1956) and the development of the collection. In order to complement the museum and music practice achievements, one turned increasingly to the scientific study of Beethoven. For the commemorative year 1920 (Beethoven's 150th birthday), the Beethoven House Association opened its own scientific publication series. And in order to anchor Beethoven research in the Beethoven-Haus on a permanent basis, he founded the Beethoven Archive on the 100th anniversary of Beethoven's death in 1927. During the time of the “Third Reich” under its association chairman and director of the Beethoven archive Ludwig Schiedermair (1876–1957), the Beethoven-Haus submitted to National Socialist ideology and cultural policy at an early stage and more than was necessary. Beethoven's Germanness was in the foreground of Beethoven's interpretation and reception. As early as 1934, Jewish musicians were no longer engaged at the chamber music festivals; By 1936 at the latest, the Jewish members had disappeared from the association, and Schiedermair, who was well networked with the institutions of German musicology and a member of the International Mozarteum Foundation in Salzburg, had enforced the leadership principle on the association's board. In the post-war period, under the chairmanship of the building officer Theodor Wildeman and the archive manager Joseph Schmidt Görg, the goal of “maintaining the memory and work” of Beethoven came to the fore again through an increased focus on the complete edition of Beethoven's sketches, works and testimonies the statutes of the post-war period were incorporated. In 2004, the catalog of tasks was reformulated and made more precise and incorporated into the new 2013 statutes. For the 100th anniversary of the Beethoven-Haus association in 1989, the new archive and office building with a chamber music hall was ready to move into.

The work of the Beethoven-Haus, like that of any other cultural institution, is subject to social change, by which its results must be measured. Sometimes the museum is criticized for being out of date and its scientific research is perceived as reactive. Another time, in 2006, the Beethoven-Haus received an award for its “innovative combination of museum, research facility and new media” from the then Federal President Horst Köhler and the initiative Germany - Land of Ideas . The transition phase 2009–2011, under the directors Philipp Adlung and Manfred Harnischfeger, focused on the need for reform on the one hand and the innovations achieved on the other. Today, the focus of the museum and collection, the digital Beethoven house, the digital stage, studio, chamber music concerts, master classes, music and museum education, preparatory college, musicological documentation and research shape the work of the Beethoven house. In 2014 the Beethoven-Haus association celebrated its 125th anniversary. That was the reason for the Beethoven-Haus to turn to its club history. So far, the history of the Beethoven House 1933-1945 has been processed in an external research project .

2020 is the 250th birthday of the composer. Under the label BTHVN (for Beethoven ) 2020, the Beethoven-Haus Bonn assumes central functions in the design and coordination of activities on behalf of the federal government. One of the main goals is to open up Beethoven for the 21st century.

Organizational structure and management of the association

The Beethoven-Haus association, which was raised to the status of a legal person in 1896, consists of the general assembly, the board of directors, the board of trustees and advisory boards with an advisory function, which - with the exception of the director - perform their duties on a voluntary basis. The board consists of the chairman, the treasurer and the secretary as well as their deputies, plus up to five assessors as well as the director of the Beethoven House and his deputy. With the exception of the director, the board is elected by the members for four years. The position of director of the Beethoven-Haus - until then held in personal union with the director of the Beethoven-Archiv - was created in 1998 as a separate institution superordinate to the various departments. The director heads the administration, leads the day-to-day business and is responsible for the facilities of the association and the projects. In 1998 Andreas Eckhardt was appointed director. Philipp Adlung took over from him in 2009 . From 2010 to April 2012 Manfred Harnischfeger managed the Beethoven House. Malte Boecker has been Director of the Beethoven House since May 2012. With the approval of the new statutes on March 22, 2013 by the Cologne District Government, he was appointed to the Executive Board of the Beethoven House Association.

The board of trustees serves to promote the purpose of the association and to work with the donors. It therefore includes - in addition to the chairman, the treasurer and the secretary as well as the director with an advisory vote - one representative each from the federal government, the state of North Rhine-Westphalia, the Rhineland Regional Council and the city of Bonn.

Association chairperson:

Hermann Josef Abs in the 1970s

On May 7, 1945, at the instigation of the military government, a board of directors headed by Theodor Wildeman was appointed to manage the association.

From the beginning, people from all walks of life and from all areas of expertise have supported the association with their membership. Today it has over 1000 members. Numerous outstanding personalities in the musical world have been and are honored with honorary membership.

The sponsoring association receives around half of its funds from the public sector (federal government, state of North Rhine-Westphalia, city of Bonn), the other 50% of the budget is raised through donations and sponsoring, through self-economic activities and project-related third-party funds from foundations and other funding institutions. The non-profit "Stiftung Beethoven-Haus Bonn" founded in 1999 exclusively supports projects of the Beethoven-Haus with its interest income. Donors who increase the foundation's capital are awarded the honorary titles of patron, donor or founder. Economically accentuated activities such as the museum shop and the granting of image rights have been outsourced to the Beethoven-Haus Vertriebsgesellschaft mbH . Your profit will in turn be transferred to the publicly funded budget.

See also


  • Joseph Schmidt-Görg : Catalog of the manuscripts of the Beethoven House and the Beethoven Archive Bonn. Bonn 1935.
  • Sieghard Brandenburg : Collecting and Preserving - Editing and Evaluating. From the time the Beethoven Archive was founded. In: Bonn Beethoven Studies. Volume 5 (2006), pp. 71-93.
  • Michael Ladenburger, Franz Josef Talbot , Silke Bettermann: The Beethoven House Ensemble in Bonn (= Rheinische Kunststätten. No. 510). Neuss printing and publishing house, Neuss 2008, ISBN 978-3-86526-033-8 .
  • Silke Bettermann, Walther Brauneis, Michael Ladenburger: From Bonngasse to the Schwarzspanierhaus. Beethoven houses in old views (= publications of the Beethoven house. Publications accompanying exhibitions, Volume 11), corrected reprint. Verlag Beethoven-Haus, Bonn 2005. ISBN 3-88188-066-6 .
  • Joseph Schmidt-Görg: Beethoven. The story of his family. (Publications of the Beethoven House in Bonn, NF, 4th series, volume 1). Publisher Beethoven-Haus, Bonn / G. Henle-Verlag, Munich-Duisburg 1964.
  • Beethoven family in the electoral city of Bonn. New edition based on the notes of the Bonn master baker Gottfried Fischer. Transferred, annotated, illustrated and edited by Margot Wetzstein, Verlag Beethoven-Haus, Bonn 2006. ISBN 3-88188-098-4 .
  • Theodor Wildeman : The restoration of Beethoven's birthplace and the renovation of the Beethoven archive in Bonn in the years 1935–37. In: Yearbook of the Rhenish Preservation of Monuments 14./15. Vol. (1938), pp. 540-545.
  • Ortwin Wildeman: The Beethovenhaus Bonn on May 11, 1945. In memory of Theodor Wildeman and Heinrich Hasselbach. In: Bonner Geschichtsblätter 49/50, Bonn 1999/2000 (2001), pp. 491–498.
  • Herbert Grundmann (Ed.): Association Beethoven-Haus Bonn 1889–1964 . Beethoven-Haus publishing house, Bonn 1964.
  • 1889-1989. Beethoven House Association. [Festschrift for the 100th anniversary]. Beethoven-Haus publishing house, Bonn 1989.
  • Beethoven-Haus association (ed.): New statutes, inventory of the museum, directory of the members of the Beethoven-Haus association in Bonn. Carl Georgi's university printing press, Bonn 1898.
  • Ferdinand August Schmidt: Beethoven House. The foundation of the Beethoven-Haus association and the history of the first two decades of its activity. Compiled from my memories, records and documentary material. Bonn 1928 (printed as a manuscript).
  • Patrick Bormann: The Beethoven House in Bonn 1933–1945. A cultural institution in the “Third Reich” (= publications of the Beethoven House in Bonn. Series IV: Writings on Beethoven Research , Volume 27). Bonn 2016. ISBN 978-3-88188-148-7 .
  • Andreas Eckhardt: The / Das / La Beethoven-Haus Bonn (publications of the Beethoven-Haus Bonn. For connoisseurs and lovers). Verlag Beethoven-Haus, Bonn 2008, ISBN 978-3-88188-112-8 .
  • Ludwig Finscher: Looking back ahead. Musical monuments and musical life. In: Bonn Beethoven Studies. 6 (2007), ISBN 978-3-88188-110-4 , pp. 189-196.
  • Friederike Grigat: The library of the Beethoven archive in Bonn. In: Forum music library. 2000, 21, pp. 53-57.

Web links

Commons : Beethoven-Haus, Bonn  - Collection of images, videos and audio files

Individual evidence

  1. 1889-1989. Beethoven House Association. [Festschrift for the 100th anniversary].
  2. ^ Theodor Wildeman: The restoration of Beethoven's birthplace and the reconstruction of the Beethoven archive in Bonn in the years 1935–1937 . 1938, pp. 540-545.
  3. ^ Ortwin Wildeman: The Beethovenhaus Bonn on May 11, 1945 . 2001, pp. 491-498.
  4. Working group of independent cultural institutes (ed.): Culture reports . 2/1999, p. 36 [on the occasion of the award ceremony on September 3, 1999]
  5. Bonner Rundschau , January 29, 1999
  6. Rheinische Heimatpflege , vol. 37, 2000, p. 154.
  7. ^ Joseph Schmidt-Görg: Beethoven . 1964, pp. 85-90
  8. ^ Margot Wetzstein: Beethoven family in the electoral Bonn . 2006, p. 31ff. Here you will find more information on the genealogy of the family.
  9. Norbert Schloßmacher, The first appearance ... Ludwig van Beethoven's baptism in the church book of St. Remigius . Facsimile and commentary (publications of the Beethoven-Haus Bonn, annual edition of the Beethoven-Haus Association 2019).
  10. Silke Bettermann u. a .: From Bonngasse to the Schwarzspanierhaus. 2005, p. 43 ff.
  11. ^ Margot Wetzstein: Beethoven family in the electoral Bonn. 2006, pp. 27, 37–51 and 151. The notes of the master baker Fischer provide a good insight into the life of the young Ludwig van Beethoven and his family.
  12. Silke Bettermann u. a .: From Bonngasse to the Schwarzspanierhaus. 2005, p. 46 ff.
  13. In November 2012, the Beethoven-Haus was awarded “Germany at its best” by the initiative of the state of North Rhine-Westphalia.
  14. ^ Andreas Eckhardt: The / Das / La Beethoven-Haus Bonn . 2008, p. 23.
  15. Michael Ladenburger u. a .: The Beethoven-Haus ensemble . 2008, pp. 9-14.
  16. ^ Bernhard Hartmann: The museum seeks closeness to the public. In: Bonner Gereral-Anzeiger of February 22, 2019, p. 9.
  17. appassionato 43 , November 2019, pp. 9–11.
  18. ibid.
  19. ^ Friederike Grigat: The Wegeler Collection in the Beethoven House in Bonn. Critical catalog (= Bonn Beethoven Studies. Volume 7). Verlag Beethoven-Haus, Bonn 2008, ISBN 978-3-88188-111-1 .
  20. Nicole Kämpken, Michael Ladenburger: On the trail of Beethoven. Hans Conrad Bodmer and his collections . (= Publications of the Beethoven-Haus. Exhibition catalogs volume 17). Verlag Beethoven-Haus, Bonn 2006, ISBN 3-88188-099-2 .
  21. Stefan Zweig and Beethoven , s. appassionato . News from the Beethoven-Haus, No. 34 (2015), p. 11.
  22. appassionato 43 , November 2019, pp. 20-23.
  23. General-Anzeiger for Bonn from November 28, 2005.
  24. Beethoven digital
  25. Kölner Stadt-Anzeiger , October 5, 1989
  26. General-Anzeiger für Bonn , May 2, 1990
  27. General-Anzeiger für Bonn , 23./24. November 1991.
  28. ^ Andreas Eckhardt: The / Das / La Beethoven-Haus Bonn . 2008, p. 45.
  29. Martella Gutiérrez-Denhoff: The new chamber music hall of the Beethoven House: a combination of tradition and modernity. In: Bonner Universitätsblätter 1991, pp. 25–34.
  30. ^ Ralf J. Günther: Beethoven in bits and bytes. In: The NRW Foundation for Nature Conservation, Heimat- und Kulturpflege , 2007, issue 3, pp. 6-11.
  31. Markus Gloe u. a .: Pearls in the net. Selected websites for schools and lessons. Federal Agency for Civic Education , Bonn 2009, ISBN 978-3-8389-7015-8 , pp. 64–65.
  32. ^ Statutes 2013, § 2 [printed by: Verlag Beethoven-Haus, Bonn 2013].
  33. ^ Andreas Eckhardt: The / Das / La Beethoven-Haus Bonn . 2008, pp. 15-21.
  34. ↑ Deed of foundation of June 22, 1927 (state approval on March 15, 1928) (Beethoven-Haus Bonn).
  35. ^ Beethoven archive under new management. In: appassionato . News from the Beethoven House, No. 18. (2007); appassionato . News from the Beethoven House, No. 34 (2015).
  36. appassionato . News from the Beethoven House, No. 34 (2015).
  37. ^ Sieghard Brandenburg: Collecting and Preserving . 2006, p. 78.
  38. deed of foundation 1927, same wording in the statutes of 1972 and 1998.
  39. Ludwig Finscher: Looking back ahead . 2007, p. 191.
  40. ^ Andreas Eckhardt: The / Das / La Beethoven-Haus Bonn . 2008, p. 33.
  41. Dedications by Haydn and Beethoven. People - strategies - practices. Report on the International Musicological Congress, Bonn, 29 September to 1 October 2011, ed. by Bernhard R. Appel and Armin Raab (publications of the Beethoven-Haus Bonn, series IV, volume 25), Bonn 2015.
  42. ^ At the same time The 4th New Beethoven Research Conference of the American Beethoven Research.
  43. ^ Sieghard Brandenburg: Collecting and Preserving , 2006, p. 78 (§ 3 of the statutes of July 27, 1927) and p. 86.
  44. ^ Friederike Grigat: The library of the Beethoven archive . 2000, p. 54, supplemented by current figures.
  45. ^ Joseph Schmidt-Görg: Anton Schindler's musical estate in the Beethoven archive in Bonn. In: Sborník praci Filozofické Fakulty Brnenské Univerzity, 9 (1965) (Festschrift for Jan Racek), pp. [263] –272.
  46. ^ Directory of musicians' bequests in Germany . [Ed. from the German Library Institute and the Association Internationale des Bibliothèques, Archives et Centers des Documentation Musicaux (AIBM) - Gruppe Deutschland e. V.]. Former library institute, Berlin 2000, pp. 71–72.
  47. ^ Andreas Eckhardt: The / Das / La Beethoven-Haus Bonn , 2008, p. 34.
  48. ^ Armin Raab: work, tradition and edition. The New Beethoven Complete Edition. Lecture Beethoven Symposion., Tokyo 1995 [Manuscript Library Beethoven House].
  49. Ludwig Finscher: Looking back ahead . 2007, pp. 190-191, 194-195.
  50. ^ Georg Kinsky: Das Werk Beethoven: thematic-bibliographical index of all of his completed compositions . Completed after the death of the author and ed. by Hans Halm. G. Henle, Munich-Duisburg 1955.
  51. Ludwig van Beethoven. Thematic-bibliographical catalog of works . Arranged by Kurt Dorfmüller, Norbert Gertsch and Julia Ronge. 2 volumes. Munich 2014.
  52. ^ Sieghard Brandenburg: Collecting and Preserving . 2006, pp. 91-93.
  53. Beethoven's workshop . Beethoven archive. Retrieved January 17, 2019.
  54. ^ Press release of the Academy of Sciences and Literature, Mainz, November 25, 2013;, local site Bonn, December 17, 2013; Union of the German Academies of Sciences
  55. ^ Sieghard Brandenburg: Collecting and Preserving . 2006, p. 90.
  56. Ludwig van Beethoven's conversation books, ed. from the German State Library Berlin by Karl-Heinz Köhler and Grita Herre a. a., Leipzig 1972 ff., on the tradition and edition cf. Volume 1 (1972), pp. 5-16.
  57. ^ Sieghard Brandenburg: Collecting and Preserving . 2006, p. 89.
  58. ^ Sieghard Brandenburg: Collecting and Preserving . 2006, p. 93.
  59. ^ General-Anzeiger für Bonn, 27./28. January 2001 and 7./8. February 2004.
  60. ^ Beethoven and the Leipzig music publisher Breitkopf & Härtel. In: Nicole Kämpken, Michael Ladenburger (eds.): “I give your action priority over all others” , book accompanying an exhibition at the Beethoven House in Bonn (publications accompanying exhibitions, 18), Bonn 2007.
  61. appassionato , No. 30, p. 11, (PDF; 4.2 MB).
  62. Patrick Bormann: The Beethoven House in Bonn 1933-1945. A cultural institution in the “Third Reich” (writings on Beethoven research, 27). Bonn 2016.
  63. ^ Friederike Grigat: The library of the Beethoven archive in Bonn. In: Forum music library. 21, 2000, p. 54.
  64. ^ Friederike Grigat: Beethoven's library is being reconstructed. In: appassionato. News from the Beethoven-Haus, vol. 26 (2011), pp. 3–4.
  65. Michael Ladenburger u. a .: The Beethoven-Haus ensemble. 2008, p. 22.
  66. Bonner General-Anzeiger , May 9, 1893, p. 6, quoted from Rainer Cadenbach: Joseph Joachims Programs. The great time of Bonn's chamber music festivals from 1890 to 1907. In: 1889–1989, 1989, pp. 65–90, p. 66.
  67. ^ New statutes 1896, p. 1 [printed by: Beethoven-Haus Bonn].
  68. Patrick Bormann: The Beethoven House in Bonn (see note 61).
  69. Articles of Association 2004, §. 2 [printed by: Beethoven-Haus Bonn 2004], statutes 2013, §. 2 [printed by: Beethoven-Haus Bonn 2013].
  70. ^ Franz Pesch: New building in a historical setting. Edited by the Working Group on Historic Town Centers in North Rhine-Westphalia and the Ministry for Urban Development and Transport in North Rhine-Westphalia . Rudolf Müller-Verlag, Cologne 1995, ISBN 3-481-00755-8 , pp. 86-89.
  71. Noise in the lighthouse . In: Der Spiegel . No. 34 , 1994, pp. 164 f . ( online ).
  72. Andreas Rossmann : How a reformer was overthrown. Sharp dissonances: The board of directors of the Beethoven-Haus in Bonn let its director Philipp Adlung fail and thwarted the long overdue renewal. In: FAZ . March 11, 2011, p. 35.
  73. General-Anzeiger for Bonn , September 26, 2006.
  74. Kölner Stadt-Anzeiger , September 27, 2006.
  75. Philipp Adlung leaves the Beethovenhaus . In: Mitteldeutsche Zeitung , December 15, 2010.
  76. Manfred Harnischfeger: We were able to resolve blockages . In: Bonner General-Anzeiger , March 17, 2011.
  77. appassionato , No. 28, 2012, (PDF).
  78. Patrick Bormann: The Beethoven House in Bonn 1933-1945 (see note 61).
  79. appassionato , No. 34, 2015, p. 2, (PDF).
  80. ^ Statutes 2013, § 6, [printed by: Verlag Beethoven-Haus, Bonn 2013].
  81. Articles of Association 2013, § 9.
  82. Articles of Association 2013, § 13.
  83. Beethovenstiftung-Bonn ( Memento of the original from January 5, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot /
  84. Articles of Association 2013, § 9.
  85. Articles of Association 2013, § 14.
  86. ^ Association minutes [Beethoven House, Bonn]
  87. ^ Paul Egon Hübinger: Founding and founder of the Beethoven House Association. In: 1889–1989, Beethovenhaus Association. 1989, pp. 9-64.
  88. Ortwin Wildeman: Das Beethovenhaus Bonn on May 11, 1945. 2001, p. 496.
  89. ^ Andreas Eckhardt: The / Das / La Beethovenhaus Bonn. 2008, pp. 13-14.

Coordinates: 50 ° 44 ′ 13 ″  N , 7 ° 6 ′ 5 ″  E