Beethoven, Ludwig van. (1770–1827). Ouverture aus der Oper Fidelio, für das Forte-Piano. . Wien: Artaria und Comp.. [1814]. First edition. Oblong folio. Title; 1 - 8 pp. Engraved. [PN] 2327. First edition of the first published piano reduction by Moscheles, as supervised by the composer himself. In later marbled wrappers, margins moderately soiled, small hole in margin of title page, bottom edge a little rough, but overall very good. Kinsky p. 183.
In his introduction to the English edition of Schindler's 'Life of Beethoven," Ignaz Moscheles writes: "It was in the year 1814, when Artaria undertook to publish a piano-forte arrangement of Beethoven's 'Fidelio,' that he asked the composer whether I might be permitted to make it: Beethoven assented, upon condition that he should see my arrangement of each of the pieces, before it was given into the engraver's hands. Nothing could be more welcome to me, since I looked upon this as the long wished-for opportunity to approach nearer to the great man, and to profit by his remarks and corrections. During my frequent visits, the number of which I tried to multiply by all possible excuses, he treated me with the kindest indulgence. Although his increasing deafness was a considerable hindrance to our conversation, yet he gave me many instructive hints, and even played to me such parts as he wished to have arranged in a particular manner for the piano-forte."
In his introduction to the English edition of Schindler's 'Life of Beethoven," Ignaz Moscheles writes: "It was in the year 1814, when Artaria undertook to publish a piano-forte arrangement of Beethoven's 'Fidelio,' that he asked the composer whether I might be permitted to make it: Beethoven assented, upon condition that he should see my arrangement of each of the pieces, before it was given into the engraver's hands. Nothing could be more welcome to me, since I looked upon this as the long wished-for opportunity to approach nearer to the great man, and to profit by his remarks and corrections. During my frequent visits, the number of which I tried to multiply by all possible excuses, he treated me with the kindest indulgence. Although his increasing deafness was a considerable hindrance to our conversation, yet he gave me many instructive hints, and even played to me such parts as he wished to have arranged in a particular manner for the piano-forte."
Beethoven, Ludwig van. (1770–1827). Ouverture aus der Oper Fidelio, für das Forte-Piano. . Wien: Artaria und Comp.. [1814]. First edition. Oblong folio. Title; 1 - 8 pp. Engraved. [PN] 2327. First edition of the first published piano reduction by Moscheles, as supervised by the composer himself. In later marbled wrappers, margins moderately soiled, small hole in margin of title page, bottom edge a little rough, but overall very good. Kinsky p. 183.
In his introduction to the English edition of Schindler's 'Life of Beethoven," Ignaz Moscheles writes: "It was in the year 1814, when Artaria undertook to publish a piano-forte arrangement of Beethoven's 'Fidelio,' that he asked the composer whether I might be permitted to make it: Beethoven assented, upon condition that he should see my arrangement of each of the pieces, before it was given into the engraver's hands. Nothing could be more welcome to me, since I looked upon this as the long wished-for opportunity to approach nearer to the great man, and to profit by his remarks and corrections. During my frequent visits, the number of which I tried to multiply by all possible excuses, he treated me with the kindest indulgence. Although his increasing deafness was a considerable hindrance to our conversation, yet he gave me many instructive hints, and even played to me such parts as he wished to have arranged in a particular manner for the piano-forte."
In his introduction to the English edition of Schindler's 'Life of Beethoven," Ignaz Moscheles writes: "It was in the year 1814, when Artaria undertook to publish a piano-forte arrangement of Beethoven's 'Fidelio,' that he asked the composer whether I might be permitted to make it: Beethoven assented, upon condition that he should see my arrangement of each of the pieces, before it was given into the engraver's hands. Nothing could be more welcome to me, since I looked upon this as the long wished-for opportunity to approach nearer to the great man, and to profit by his remarks and corrections. During my frequent visits, the number of which I tried to multiply by all possible excuses, he treated me with the kindest indulgence. Although his increasing deafness was a considerable hindrance to our conversation, yet he gave me many instructive hints, and even played to me such parts as he wished to have arranged in a particular manner for the piano-forte."