String Quintet C Major Op.29 - Violin 1
With respect to Count Braun I demand that you approach the Kunst- und Industriehandlung in Vienna for information, since it is too unimportant to me to discuss this any further. In general, you have misunderstood my brother's character and my honesty, since I handle all of my brother's affairs, he leaves all business matter to my disposition. I certainly believe that you may have reasons to expect the worst from some composers, since also in this field, there are those who sell a work more for profit than out of necessity, but in our case this is not so.
Your K. On December 8, Griesinger sent a lengthier letter to Leipzig:. Dezember ]. Nach Verfluss eines Jahres wurde es von Ihnen erkauft. Als auch dieses nicht wirkte, sagte er ihm die derbsten Wahrheiten und erhielt durch Friesens Vermittlung dass Artaria das Quartett nur als Nachstich, und 14 Tage nach Erscheinung des Originals verkaufen wolle. Ihnen schrieb er in einige Zeilen, vermutlich ohne ins Detail zu gehen, was geschehen sey.
Papa Haydn habe sich dadurch genug prostituirt usw. After a year, you bought it. Artaria was brazen enough to maintain that he had received it as a present from Count Fries. Fries knew nothing of that and it came out that Conti had borrowed the manuscript from Count Fries for a few days in order to correct a sample of it for Artaria. Beethoven went to his lawyer, and the letter told him that, before a lawsuit could even be started, Artaria might already have printed and sent out the entire edition. Beethoven was so honest to offer Artaria two works that he had already completed if he would suppress the edition.
When this did not help, he told him the truth in no uncertain terms, and through [Count] Fries's he was able to arrange that Artaria would only print his edition two weeks after the appearance of the original edition. He wrote a few lines to you, probably without telling you everything that had happened. He said that he had not been raised in the common manner in which some of his colleagues have been raised, and therefore, he does not consider himself capable of selling a manuscript for the second time, for which he had already been paid.
It is not necessary to repeat my replies here that are a matter of course and that worked as much as cold blood can work against an agitated mind. Beethoven will send your letter to Count Fries and will ask him that he will urge Artaria to suppress the entire edition and that he will try to either obtain written confirmation or to buy the plates form him.
If it is important to you to remain on good terms with Beethoven, please mention in your letter that it was never your intention to insult him and that you value him, etc.
He was very upset about your mentioning the story with Count Braun in which Beethoven was entirely innocent and with respect to which he can deliver the most convincing proof. Ignaz Sonnleithner; to : probably refers to op. The publisher did not take long to send a letter to Beethoven. It was dated December 11, Ihres H. Inhalte nach, gerecht gefunden haben werden, u.
Ihr H. Ihren H. Bruder von uns, ohne unsere Schuld, zu entfernen. Von den H. Ihrer Var. Bethoven in Wien. Leipzig, the 11th of Dec.
Therefore, we honestly state that we can not explain to ourselves the letter that we have just received from your Herr brother, in which he explains to us that, on account of our last letter to you, you felt very insulted and in which he justifies himself against accusations that we would never have dreamed of making against him.
Moreover, we are certain that, essentially, you will have found our presentation of this matter justified and that, due to this, it could not have displeased you. Yet, in his letter, your Herr brother wrote, " that one is not at fault for coincidences and bad people and that one can not know everything in advance ". However, we are certain that, in this and in similar cases that you would wish to secure and guarantee to the publisher of a work that you have promised to him and that you would wish to prevent him from suffering any damages that are not his fault.
That we, in our last letter, were not guided by our hurt ego but rather merely expressed what appeared to be justified to us, we gladly prove to you by leaving the entire matter in your hands and that we will no longer ponder the losses that we would incur on account of Artaria. However, we would regret nothing more that if this gentleman would succeed in finding occasion, due to this matter, to drive a wedge between us, you and your Herr brother, without any fault of ours.
Bethoven in Vienna. On December 18, , Griesinger conveyed Beethoven's suggestions to the publisher:. Wien, Beantworten Sie mir diesen Punkt. Vienna, December 18, He apologizes that he does not know of a better solution in a case in which Count Fries is involved, and he solemnly promises that in future, something like thiswill not happen. What might seem curious to us today are the publisher's doubts about the "mercantile" value of Beethoven's works that were expressed in their letter to Karl van Beethoven of January 28, Januar Herrn Ch.source link
Beethoven: Quintet in C major for Two Violins, Two Violas, and Cello, Op. 29
Beethowen in Wien. Leipzig, January 28, Herr Ch. Beethowen in Vienna. Please accept our thanks for your announcement of the new works that your Herr brother means to make available for printing,1] and for your well-meaning consideration expressed in this way. Beethoven's brother replied as follows on February 12, Feb Hochzuverehrender Hr. K v Beethoven. Vienna, the 12th of Feb Highly Esteemed Sir.
Until now, to our delight, Mollo has not yet announced [the publication of] the Quintet, and perhaps they will also not announce it, since I have obtained a Decree from the Court that in future, no work of my brother may be printed if he has not agreed to it in writing, namely, in the newspaper ; in this way, it will probably be suppressed. I am, with the greatest Esteem,. With respect to this, the GA comments that since September 1, , togeter with Domenico Artaria, Tranquillo Mollo was a partner in this business; to : refers to the fact that this Decree is not known; to : refers to the fact that, according to the GA, the Industriekontor announced an edition of op.
Ludwig van Beethoven. TF [p.
Rather, Artaria felt compelled to defend the integrity of his house by filing a petition in the High Police Court on February 14, , demanding a retraction by Beethoven of his false charges. Two excerpts from Beethoven's reply to Artaria of September 1, , make Count Fries's role in this matter appear very inconsistent.
Fries was not authorized according to our verbal agreement to bring out an edition of this Quintet, I inquired of him concerning Artaria and Mollo, and he indicated to me that they reminded him that an edition of his Quintet had already appeared in Leizpig and that they only wished to publish it as a reprint, and in view of this Hr.
Fries by just means, I must reply that when I complained to him concerning the edition prepared by Artaria, Hr.
Beethoven String Quintet in C major, Op. 29 - Download free sheet music
Graf told me in person that Artaria had obtained the Quintet from him by trickery, using the plea mentioned above, therefore I cannot understand at all how Hr. Graf v. Fries can say in the certificate shown to me that Artaria and company asked him for permission to publish the Quintet that was bought from me, which request he granted willingly; as I see it, from the showing of this evidence Graf von Fries cannot have remembered any longer what he had said to me.
Count Fries was conveniently traveling at the time and therefore unavailable for questioning at the hearings. At the same time, Beethoven admits that he did correct the two copies for Artaria but out of anger did not do a thorough job; he concludes: "However I have not done wrongly by Artaria in reporting in the declaration that his edition is full of mistakes, incorrect, and of no use as all for the performer.
Artaria's reply on September 5th points out that his request for the Quintet from Count Fries could not have involved trickery since he did not know of the Leipzig edition at the time, that the mistakes in his edition are the fault of Beethoven, who should have told him that the copy was unusable. An important musician, appointed by the court to study the edition, found that all of Beethoven's corrections had been observed by the publishers. At the same time Mollo made it clear that he had nothing to do with any of the negotiations. It is not surprising to find that the court ruled on September 26 against Beethoven and in favor of the publishers.
The main theme undergoes a final transformation, with the motto dispersed starkly through the texture — F cello , E viola , G sharp second violin , A cello — initiating a powerfully scored coda that seems to hover between desperation and defiance. If the first movement takes its cue from Bach, the second is a distant echo of Mozart A major Quartet, K, a work that Beethoven is known to have admired and studied, and which had already influenced the A major quartet, Op. The music is somewhere between scherzo and minuet, uneasy in its elegance and obsessive interplay of motif.
The Trio is a different kind of dance, an evocation of folk fiddling, at first over a glassy open-string drone, then with the melody broken up over spiky chords, with the changes of harmony tugging at our sense of the barline, so that upbeats become downbeats. The vision is abruptly dispelled in a swaggering little march, almost shocking in its self assurance, followed immediately by a melodramatic recitative. Both are stepping-stones to addressing, in the finale, the questions left by the anguished end to the first movement. As the first violin approaches the cadence its line dwells on the paired semitones of the motto, G sharp—A and F—E, the latter taken up by the second violin as part of the insistent accompaniment to the theme of the finale.
The restless melody has affinities with the moto perpetuo finale of the D minor piano sonata Op. Finally, the motto recurs in another guise in a mysterious passage of counterpoint that leads to a climactic resumption of the theme, in an agitated presto, with the cello in its highest register, before the tonality suddenly melts into the major, and an extended coda, both lyrical and dance-like, that miraculously transforms as it resolves.
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Guest blog: How I first encountered Beethoven and his quartets. String Quartet in F major, Op. String Quintet in C major, Op. String Quartet in A minor, Op.