Beethoven, Ludwig van. (1770–1827). Tre Sonate per il Forte Piano con un Violino compose e dedicate al A. Salieri. Opera 12. Bonn: N. Simrock. [1801]. Oblong quarto. Parts: 45 pp, 17 pp. Engraved throughout. [PN] 133. Scarce 2nd edition, after the first issue (Artaria) of 1799. Score nicely bound in marbled boards with leather title plate on front. Scattered foxing, a few small creases, overall fine. Kinsky-Halm p. 28; BSB 2, 470; not in CPM.
"The three violin sonatas of Opus 23 written in 1798...stem, as we should expect, from Beethoven's direct engagement with Mozart's late violin sonatas. They were dedicated to Salieri, with whom Beethoven was studying vocal composition and Italian text-setting methods, clearly with operatic ambitions in mind. Apart from the dedication of Opus 2 to Haydn, the sonatas represent the only case in which Beethoven dedicated a work with opus number to a teacher; there are no dedications to Neefe, Albrechtsberger, or Schenk. In view of Salieri's position as the Imperial Hofkapellmeister and his political role in Viennese musical life, the dedication had obvious career implications, though nothing came of it. Salieri, like Albrechtsberger, found Beethoven self-willed and difficult, and he was probably bewildered by the new features of these works." (Lewis Lockwood, p. 103). One of the sonatas was probably performed by Beethoven and Schuppanzigh on March 29, 1798.
"The three violin sonatas of Opus 23 written in 1798...stem, as we should expect, from Beethoven's direct engagement with Mozart's late violin sonatas. They were dedicated to Salieri, with whom Beethoven was studying vocal composition and Italian text-setting methods, clearly with operatic ambitions in mind. Apart from the dedication of Opus 2 to Haydn, the sonatas represent the only case in which Beethoven dedicated a work with opus number to a teacher; there are no dedications to Neefe, Albrechtsberger, or Schenk. In view of Salieri's position as the Imperial Hofkapellmeister and his political role in Viennese musical life, the dedication had obvious career implications, though nothing came of it. Salieri, like Albrechtsberger, found Beethoven self-willed and difficult, and he was probably bewildered by the new features of these works." (Lewis Lockwood, p. 103). One of the sonatas was probably performed by Beethoven and Schuppanzigh on March 29, 1798.
Beethoven, Ludwig van. (1770–1827). Tre Sonate per il Forte Piano con un Violino compose e dedicate al A. Salieri. Opera 12. Bonn: N. Simrock. [1801]. Oblong quarto. Parts: 45 pp, 17 pp. Engraved throughout. [PN] 133. Scarce 2nd edition, after the first issue (Artaria) of 1799. Score nicely bound in marbled boards with leather title plate on front. Scattered foxing, a few small creases, overall fine. Kinsky-Halm p. 28; BSB 2, 470; not in CPM.
"The three violin sonatas of Opus 23 written in 1798...stem, as we should expect, from Beethoven's direct engagement with Mozart's late violin sonatas. They were dedicated to Salieri, with whom Beethoven was studying vocal composition and Italian text-setting methods, clearly with operatic ambitions in mind. Apart from the dedication of Opus 2 to Haydn, the sonatas represent the only case in which Beethoven dedicated a work with opus number to a teacher; there are no dedications to Neefe, Albrechtsberger, or Schenk. In view of Salieri's position as the Imperial Hofkapellmeister and his political role in Viennese musical life, the dedication had obvious career implications, though nothing came of it. Salieri, like Albrechtsberger, found Beethoven self-willed and difficult, and he was probably bewildered by the new features of these works." (Lewis Lockwood, p. 103). One of the sonatas was probably performed by Beethoven and Schuppanzigh on March 29, 1798.
"The three violin sonatas of Opus 23 written in 1798...stem, as we should expect, from Beethoven's direct engagement with Mozart's late violin sonatas. They were dedicated to Salieri, with whom Beethoven was studying vocal composition and Italian text-setting methods, clearly with operatic ambitions in mind. Apart from the dedication of Opus 2 to Haydn, the sonatas represent the only case in which Beethoven dedicated a work with opus number to a teacher; there are no dedications to Neefe, Albrechtsberger, or Schenk. In view of Salieri's position as the Imperial Hofkapellmeister and his political role in Viennese musical life, the dedication had obvious career implications, though nothing came of it. Salieri, like Albrechtsberger, found Beethoven self-willed and difficult, and he was probably bewildered by the new features of these works." (Lewis Lockwood, p. 103). One of the sonatas was probably performed by Beethoven and Schuppanzigh on March 29, 1798.