Beethoven, Ludwig van. Sonaten für das Pianoforte solo. Erste vollständige Gesammtausgabe unter Revision von Franz Liszt. Vol. I: Sonatas 1-18, œuvre 2-31. Wolfenbüttel, L. Holle, no year (c. 1847?). Large 4to (13⅝ × 10⅝ in [34.5 × 27 cm]). 2 n. pag. ll. collective title, 286 (instead of c. 290) pp. Contemp. brown h. leather with green-black marbled covers along with sm. leather corners.
Sonata C minor (Pathétique) op. 13
Dedicated to Prince Lichnovsky
LUDWIG VAN BEETHOVEN’S SÄMMTLICHE COMPOSITIONEN / First complete collected edition as revised by Franz Liszt, sect. I, vol. I (of 2, the latter comprising sonatas 19-32 [œuvre 49-111] & 33-36). – Published in numbers in co-production with Augener, London, Bohné, Paris, Hagen, New York, and, later, further more. – Each of the 18 numbers with own title page, repeating at once the complete contents of all 36 numbers.
From the estate of Gerhart Güntert, Sigmaringen, presumably the musician there in the early 20th century, with his stylized owner’s note on fly-leaf and again “G. Güntert / 11.5.24” on the title page to no. 13.
Missing the portrait frontispiece and of no. 18 (sonata no. 3 E flat major from œuvre “31 ou 29”) the initial sheet with title page and beginning and supposedly one/two sheet tail as breaking off at page 16.
Complete thus op. 31, no. 2 as besides the Waldstein (op. 53) “greatest works of this transition period between the Moonlight and the Appassionata … Never did any work burst so like a thunderclap from Beethoven’s brain … a chapter from Beethoven’s Confessions. It is also one of the two Shakespearean sonatas. It bears no dedication … a rare thing for a work of this importance. He might have dedicated it to himself. The sketch dates from the winter of 1801/2, and the sonata was finished in the summer of 1802; its place is therefore between the famous letter of the 16th November, 1801, to Wegeler [Kalischer, 2nd ed., 1909, 38 as after at first likewise 1801 now considering already 1800 as safer] and the Heiligenstadt Testament of the 6th-10th October, 1802”. Dismissing thus even sonatas such as Pathétique (op. 13), Moonlight (op. 27, 2), and Pastoral (op. 28), of all of which he remarked towards the violinist Wenzel Krumpholz “I am not satisfied … I must find another path” (Rolland, Beethoven the Creator I, 1929, pp. 149/50 & 138).
Partly slightly foxed and/or (partly even badly) browned. – Pages 3, 5 & 7 of no. 3 with transparent old gluing of a top margin tear of 16.5 cm. Pp. 3/4 of no. 12 with inconspicuous transparent gluing of a 6.5 cm tear in the lower margin. – Generally patina-touched volume, but with the flair of its earliness. And Liszt’s editorship as the “father of a new epoch of piano playing and … the style of piano music” (Meyers Konversations-Lexikon, 4th ed., X , 832).
And it was the but 34-year-old Franz Liszt who put to shame the highly honorable building committee up to banker Mertens-Schafhausen by guaranteeing the total costs of the Beethoven Memorial at Bonn, finally erected 1845. In this context it shall be reminded of the consecration kiss he received from Beethoven at the age of eleven, perceived throughout his life as “the palladium for my whole career of an artist”. See Kerst, Die Erinnerungen an Beethoven, 1913, II, pages 57 f.
No. 8 by the way with œuvre 13, the Sonata (pathétique) C minor dedicated to Prince Carl von Lichnovsky. – Usually occurring only the stereotype second edition revised by W. Stolze and published ibid. about 1860 by Ignaz Moscheles.
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(Herr J. F., 27. Mai 2013)