Beethoven, Ludwig van

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The autograph working full score of the complete movement, here marked “scherzo vivace”, in dark brown ink, with caption title and other markings in pencil, on three systems per page, each of four staves, with numerous autograph revisions, deletions, other modifications and corrections, including additions to the beginning and ending of the movement (with two pages added). Includes one passage composed on a separate leaf. The repeat of scherzo material is written out schematically with only the first violin fully notated, but otherwise complete.

Autograph letter signed (“Beethoven” in latin script), to his friend Karl Holz Vienna, 1826.

Unsigned copyists’ working manuscript of passage from Act 2 of Fidelio near end of opera for solo vocal quartet (STBarB, orchestra accompaniment), extensively revised by the composer. Consists of a portion of the coda to No. 14, Er sterbe! Contains the composer’s re-working of this passage of the text of Leonore (1805 and 1806) for the final version Fidelio (1814), beginning with Leonore’s words “Die Liebe wird im Bunde.” Notated in brown ink on sixteen staves, with Beethoven’s autograph revisions in ink and pencil.

The formerly lost autograph manuscript of the Grosse Fuge in B-flat major in the composer’s version for piano 4 hands. Beethoven’s penultimate opus, written during his last summer, 1826. In black ink, with extensive corrections and other markings, some in red crayon, with pasted-over and tipped-in sections. Bound with engraved first edition published as: Grande fugue tantôt libre, tantôt recherchée, pour 2 violons, alte & violoncelle, oeuvre 133 de Louis van Beethoven ; arrangée pour le pianoforte à quatre mains par l’auteur mème, oeuvre 134. Vienne : chez Maths. Artaria, [1827].

Autograph manuscript of additions and corrections made to the Piano Concerto no. 5 in E-flat major Op. 73 (“Emperor”). Revisions and annotations, with thematic material for all three movements, made in conjunction with issuance of early published edition by Breitkopf & Härtel ca. 1811.

The only surviving complete manuscript of this work. Separate manuscript violin and piano parts in brown or black ink by four copyists in collaboration with composer, with corrections and additions entered into 3rd movement of piano part in the composer’s hand in black ink. Also includes extensive modifications and other markings in black ink and occasionally red crayon made by composer’s pupil Ferdinand Ries along with additional pencil markings made in anticipation of publication by Simrock.

Autograph compositional draft for recapitulation section of first movement, comprising some 84 bars and evincing at least two stages in the compositional process. In dark brown ink on light brown paper, with pencil markings.

Autograph sketchleaf containing the first draft of the opening of the first movement.

Manuscript chorus parts (SATB) in black ink by two unidentified copyists, with extensive revisions in hand of composer made in preparation for publication by B. Schott’s Söhne and possibly used in first performance.

Manuscript full score in black ink by two unidentified copyists, with extensive revisions in hand of composer made in preparation for publication by B. Schott’s Söhne and possibly used in first performance.

Manuscript performance annotations in black ink housed with solo soprano part; annotations have caption title: Tenor.

Manuscript solo parts (SATB) in black ink by two unidentified copyists, with extensive revisions in hand of composer made in preparation for publication by B. Schott’s Söhne and possibly used in first performance.

Manuscript alto, tenor and bass trombone parts in black ink by two unidentified copyists, with extensive revisions in hand of composer made in preparation for publication by B. Schott’s Söhne and possibly used in first performance.