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53. _Grand Sonata_ for piano, in C major; ded. to Count Waldstein;
composed in 1803 (?).

54. _Sonata_ for piano, in F major; composed 1803 (?).

55. _Third Symphony_ (Eroica) for orchestra, in E flat; ded. to Prince
Lobkowitz; composed 1803-4.

56. _Triple Concerto_ for piano, violin, and violoncello, with
orchestra, in C major; composed 1804-5.

57. _Grand Sonata_ for piano, in F minor; ded. to the Count von
Brunswick; composed 1804.

58. _Fourth Concerto_ for piano and orchestra, in G major; ded. to the
Archduke Rudolph; composed 1806 (?).

59. _Three Quartets_ for two violins, viola, and violoncello, in F
major, E minor, and C major; ded. to Prince Rasoumowski; composed
1806.

60. _Fourth Symphony_ for orchestra, in B flat; ded. to Count
Oppersdorf; composed 1806.

61. _Concerto_ for violin and orchestra, in D major; ded. to Stephan
von Breuning; composed 1806.

62. _Overture_: "_Coriolanus_," in C minor; ded. to the dramatist
Heinrich von Collin; composed 1807.

63. _Sonata_ for piano, violin, and violoncello (from the Octet, Op.
103); pub. 1807.

64. _Sonata_ for piano, violin, and violoncello (from the Trio, Op.
3); pub. 1807.

65. _Scena and Aria_: "_Ah, perfido!_" for soprano voice and
orchestra; ded. to the Countess Clari; composed 1796.

66. _Twelve Variations_ for piano and violoncello, in F major, on the
theme, "_Ein Mädchen oder Weibchen_," from Mozart's "_Zauberflöte_;"
pub. 1798.

67. _Fifth Symphony_ for orchestra, in C minor; ded. to Prince
Lobkowitz and Count Rasoumowski; composed 1808 (?).

68. _Sixth Symphony_ (_Pastorale_) for orchestra, in F major; ded. to
Prince Lobkowitz and Count Rasoumowski; composed 1808 (?).

69. _Sonata_ for piano and violoncello, in A major; ded. to Baron von
Gleichenstein; pub. 1809.

70. _Two Trios_ for piano, violin, and violoncello, in D major and E
flat major; ded. to the Countess Marie Erdödy; composed 1808.

71. _Sextet_ for two clarionets, two flutes, and two bassoons;
performed 1804-5.

72. "_Fidelio_" ("_Leonora_"), opera in two acts; composed 1804-5.

73. _Fifth Concerto_ for piano and orchestra, in E flat; ded. to the
Archduke Rudolph; composed 1809.

74. _Quartet_ (tenth) for two violins, viola, and violoncello, in E
flat; ded. to Prince Lobkowitz; composed 1809.

75. _Six Songs_: words by Goethe and Reissig; ded. to the Princess
Kinsky; composed 1810.

76. _Variations_ for piano, in D major, on an original (?) theme,
afterwards employed as the "_Turkish March_" in the "_Ruins of
Athens_;" ded. to his friend Oliva; pub. 1810.

77. _Fantasia_ for piano, in G minor; ded. to the Count von Brunswick;
composed 1809.

78. _Sonata_ for piano, in F sharp major; ded. to the Countess von
Brunswick; composed 1809.

79. _Sonatina_ for piano, in G major; pub. 1810.

80. _Fantasia_ for piano, orchestra, and chorus, in C minor;
words - "_Schmeichelnd hold und lieblich klingen_" - by Kuffner; ded. to
Maximilian Joseph of Bavaria; performed 1808.

81_a_. _Sonata_ for piano - "_Les Adieux_," - in E flat; ded. to the
Archduke Rudolph; composed 1809.

81_b_. _Sextet_ for two violins, viola, violoncello, and two horns
(_obbligato_), in E flat; pub. 1810.

82. _Four Ariettas_ and a _Duet_, with pianoforte accompaniment; words
of Nos. 2, 3, and 5 by Metastasio; pub. 1811.

83. _Three Songs_; words by Goethe; ded. to the Princess Kinsky;
composed 1810.

84. _Overture and incidental Music to "Egmont;"_ composed 1809-10.

85. "_The Mount of Olives_," an oratorio; text by Franz Xaver Huber;
composed 1800 (?).

86. _First Mass_, for four voices and orchestra, in C major; ded. to
Prince Esterhazy; composed 1807.

87. _Trio_ for wind instruments, in C major; performed 1797.

88. "_Das Glück der Freundschaft_," for voice and piano; pub. 1803.

89. _Polonaise_ for piano, in C major; ded. to the Empress Elisabetha
Alexiewna, of Russia; composed 1814.

90. _Sonata_ for piano, in E minor; ded. to Count Moritz Lichnowski;
composed 1814.

91. "_The Battle of Vittoria_," for orchestra; ded. to the Prince
Regent of England; composed 1813.

92. _Seventh Symphony_ for orchestra, in A major; ded. to Count Fries;
composed 1812.

93. _Eighth Symphony_ for orchestra, in F major; composed 1812.

94. "_To Hope_;" words from the "_Urania_" of Tiegde (second setting,
_see_ Op. 32); composed 1816.

95. _Quartet_ for two violins, viola, and violoncello, in F minor;
ded. to Secretary Zmeskall; composed 1810.

96. _Sonata_ for piano and violin, in G major; ded. to the Archduke
Rudolph; composed 1810.

97. _Trio_ for piano, violin, and violoncello, in B flat; ded. to the
Archduke Rudolph; composed 1811.

98. "_An die ferne Geliebte_," a _Liederkreis_; words by Jeitteles;
ded. to Prince Lobkowitz; composed 1816.

99. "_Der Mann von Wort_," for voice and piano; words by Kleinschmid;
pub. 1815.

100. "_Merkenstein_," for one or two voices and piano; words by
Rupprecht; composed 1814.

101. _Sonata_ for piano, in A major; ded. to the Baroness Erdmann;
composed 1815.

101. _Two Sonatas_ for piano and violoncello, in C major and D major;
ded. to the Countess Erdödy; composed 1815.

103. _Octet_ for wind instruments, in E flat major; composed in Bonn
before 1792.

104. _Quintet_ for two violins, two violas, and violoncello, in C
minor (from the Trio No. 3 of Op. 1); pub. 1819.

105. _Six Thèmes variés_ for piano, with violin _ad libitum_; composed
for George Thomson, 1818-19.

106. _Sonata_ for piano, in B flat; ded. to the Archduke Rudolph;
composed 1818.

107. _Ten Thèmes variés russes, écossais, tyroliens_, for piano, with
violin _ad libitum_; composed for George Thomson, 1818-20.

108. _Twenty-five Scotch Melodies_ for one or two voices and chorus
(_obbligato_), violin, viola, and 'cello.

109. _Sonata_ for piano, in E major; ded. to Fräulein Brentano;
composed 1821 (?).

110. _Sonata_ for piano, in A flat major; composed 1821.

111. _Sonata_ for piano, in C minor; ded. to the Archduke Rudolph;
composed 1822.

112. "_Meeresstille und glückliche Fahrt_," for four voices and
orchestra; ded. to "the Author of the Poem, the immortal Goethe;"
composed 1815.

113. _Overture_: "_The Ruins of Athens_," composed 1811-12.

114. _Marches and Choruses_ from "_The Ruins of Athens_."

115. _Overture_: "_Namensfeier_," in C major; ded. to Prince
Radziwill; composed 1814.

116. _Terzetto_ for soprano, tenor, and bass, with orchestral
accompaniment; composed 1801.

117. _Overture and Choruses_: "_King Stephen_;" performed 1812.

118. _Elegy in memory of the Baroness Pasqualati_: "_Sanft wie du
lebtest hast du vollendet_;" ded. to the Baron Pasqualati; composed
1814.

119. _Twelve Bagatelles_ for piano; composed 1820-22.

120. _Thirty-three Variations_ on a waltz by Diabelli; ded. to Madame
Brentano; composed 1823.

121_a_. _Adagio, Variations, and Rondo_, for piano, violin, and
violoncello, in G major; theme, "_Ich bin der Schneider Kakadu_;" pub.
1824.

121_b_. "_Opferlied_" for solo, chorus, and orchestra; words by
Matthison; composed 1822.

122. "_In allen guten Stunden_," for solo and chorus, with two
clarionets, two horns, and two bassoons, words by Goethe; composed
1822.

123. _Missa Solemnis_ for four voices, chorus, and orchestra, in D
major; ded. to the Archduke Rudolph; composed 1818-1822.

124. _Overture_: "_Weihe des Hauses_," in C major; ded. to Prince
Galitzin; composed 1822.

125. _Ninth Symphony_ (_Jupiter_), with final chorus on Schiller's
"_Ode to Joy_," for orchestra, four voices, and chorus, in D minor;
ded. to Frederick William III. of Prussia; composed 1822-3.

126 _Six Bagatelles_ for piano; composed about 1821.

127. _Quartet_ for two violins, viola, and violoncello, in E flat;
ded. to Prince Galitzin; composed 1824.

128. "_The Kiss_;" Arietta for voice and piano; composed 1822.

129. _Rondo capriccioso_ in G major.

130. _Quartet_ for two violins, viola, and violoncello, in B flat;
ded. to Prince Galitzin; composed 1825.

131. _Quartet_ fr two violins, viola, and violoncello, in C sharp
minor; ded. to the Baron von Stutterheim; composed 1826.

132. _Quartet_ for two violins, viola, and violoncello, in A minor;
ded. to Prince Galitzin; composed 1825.

133. _Grand Fugue_ for two violins, viola, and violoncello, in B flat;
ded. to the Cardinal Archduke Rudolph; composed 1825.

134. _Grand Fugue_ (Op. 133 arranged for piano for four hands).

135. _Quartet_ (the sixteenth) for two violins, viola, and 'cello, in
F major; ded. to Herrn Wolfmeier; composed 1826.

136. "_Der Glorreiche Augenblick_," cantata for four voices and
orchestra; text by Dr. Weissenbach; ded. to Franz I., Emperor of
Austria, Nicholas I., Emperor of Russia, and Frederick William III.,
King of Prussia; composed 1814.

137. _Fugue_ for two violins, two violas, and 'cello, in D major;
composed 1817.

138. _Ouverture caractérisstique_; "_Leonora_" No. 1, in C major.


II. COMPOSITIONS DESIGNATED SIMPLY BY _Numbers_.

No. 1_a_. _Twelve Variations_ for piano and violin, in F major; Theme:
"_Se vuol ballare_," from Mozart's "_Figaro_;" ded. to Eleanore von
Breuning; pub. 1793.

1_b_. _Thirteen Variations_ for piano, in A major; Theme: "_Es war
einmal ein alter Mann_;" pub. 1794.

2. _Nine Variations_ for piano, in A major; Theme: "_Quant è più
bello_;" pub. 1796.

3_a_. _Six Variations_ for piano; Theme: "_Nel cor più non mi sento_;"
composed 1795.

3_b_. _Two Minuets_ for piano, for four hands.

4. _Twelve Variations_ for piano, in C major; Theme: "_Menuet à la
Vigano_;" pub. 1796.

5_a_. _Twelve Variations_ for piano, in A major; Theme from the ballet
of the "_Waldmädchen_;" pub. 1797.

5_b_. _Twelve Variations_ for piano and violoncello, in G major;
Theme: "_See, the Conquering Hero comes!_" pub. 1804.

6. _Twelve Variations_ for piano and violoncello, in F major. (_See_
Op. 66.)

7. _Eight Variations_ for piano in C major; Theme from Grétry's
"_Richard Coeur de Lion_;" pub. 1798.

8. _Ten Variations_ for piano in B flat major; Theme: "_La stessa, la
stessissima_;" pub. 1799.

9. _Seven Variations_ for piano, in F major; Theme: "_Kind willst du
ruhig schlafen_;" pub. 1799.

10_a_. _Eight Variations_ for piano, in F major; Theme: "_Tändeln and
Scherzen_;" composed 1799.

10_b_. _Seven Variations_ for piano and violoncello, in E flat; Theme
from the "_Magic Flute_;" composed 1801 (?).

11. _Six very easy Variations_ on an original Theme; composed 1801.

12. _Six easy Variations_ for piano or harp, in F major; Theme: "_Air
suisse_;" pub. 1799 (?).

13. _Twenty-four Variations_ for piano, in D major, on a Theme by
Righini; composed about 1790.

14-23. _Wanting._

24. "_Der Wachtelschlag_," for voice and piano; words by Sauter; pub.
1804.

25. _Seven Variations_ for piano, in C major; Theme: "_God save the
King_;" pub. 1804.

26. _Five Variations_ (favourite) for piano, in D major; Theme:
"_Rule, Britannia_;" pub. 1804.

27. _Six Variations_ for piano, for four hands, in D major, on an
original Theme; composed 1800.

28. _Minuet_ for piano.

29. _Prelude_ for piano, in F minor; pub. 1805.

30, 31. _Wanting._

32. "_To Hope_," by Tiedge (_see_ Op. 94).

33, 34. _Wanting._

35. _Andante_ for piano in F major (originally in the Sonata, Op. 53),
composed 1803 (?).

36. _Thirty-two Variations_ for piano, in C minor, on an original
Theme; pub. 1807.

37. _Wanting._

38. "_Die Sehnsucht_:" four Melodies for voice and piano; text by
Goethe; pub. 1810.


III. COMPOSITIONS DESIGNATED BY _Letters_.

A. INSTRUMENTAL MUSIC.

_a._ _Trio_ for piano, violin, and violoncello (in one movement), in B
flat; ded. to "my little friend, Maximiliana Brentano, for her
encouragement in pianoforte playing;" composed 1812.

_b._ _Rondo_ for piano and violin, in G major; pub. 1800.

_c._ _Andante_ for piano, in G.

_d._ _Sonata_ for piano, in C major (_incomplete_); composed 1796.

_e._ _Two easy Sonatinas_ for piano, in G major and F major; composed
in Bonn.

_f._ _Three Sonatas_ for piano, in E flat major, F minor, and D major;
ded. to the Elector Max. Friedrich; composed at the age of eleven.

_g._ _Rondo_ for piano, in A major; pub. 1784.

_h._ _Andante_ on the text: "_Oh Hoffnung, du stählst die Herzen_"
(Ex. for the Archduke Rudolph).

_i._ _Favourite March_ of the Emperor Alexander.

_k._ _Eight Variations_ for piano in B flat; Theme: "_Ich habe ein
kleines Hüttchen nur_."

_l._ _Variations_ for piano, on a March by Dressler; composed at the
age of ten.

_m._ _Variations_ for piano, for four hands, on an original theme.

_n._ _Variations_ for piano, for four hands, in A major.

_o._ _Triumphal March for orchestra_, in C major; performed 1813.

_p._ _Second and Third Overtures to "Leonora"_ ("_Fidelio_"), in C
major.

_q._ _Overture to "Fidelio"_ ("_Leonora_" No. 4), in E major.

_r._ _Triumphal March_ for orchestra, in G major.

_s._ _Three Duos_ for clarionet and bassoon, in C major, F major, and
B flat; composed about 1800.

_t._ _Minuet_ for piano (from the Septet, Op. 20).

_u._ _Quintet_ (MS.), for two violins, two violas, and violoncello, in
F major.


B. DANCE MUSIC.

Twelve Contre danses.
Twelve Minuets for orchestra.
Six Minuets for piano.
Twelve _Danses Allemandes_ for two violins and bass.
Seven Country Dances for piano.
Six Country Dances for piano.
Twelve _Ecossaises_ for piano.
Six _Allemandes_ for piano and violin.
Twelve Waltzes with Trios for orchestra.
Six Waltzes for two violins and bass.
Two Minuets for piano, for four hands.
Six Country Dances for piano.
Two Favourite Waltzes for piano, in B flat major and E minor.


C. VOCAL MUSIC.

_a._ _Six Songs_ from Reissig's "_Blümchen der Einsamkeit_:" -

1. "_Sehnsucht_," in E major.
2. "_Krieger's Abschied_," in E flat.
3. "_Der Jüngling in der Fremde_," in B flat.
4. "_An den fernen Geliebten_," in G major.
5. "_Der Zufriedene_," in A major.
6. "_Der Liebende_," in D major.

_b._ _Three Songs:_ -

1. "_An die Geliebte_," in B flat.
2. "_Das Geheimniss_," in G major.
3. "_So oder so! Nord oder Süd._"

_c._ _Italian and German Songs:_ -

1. "_La Partenza_" ("_ecco quel fiore_").
2. "_Trinklied._"
3. "_Liedchen von der Ruhe._"
4. "_An die Hoffnung._"
5. "_Ich Liebe dich, so wie du nich._"
6. "_Molly's Abschied._"
7. "_Ohne Liebe._"
8. "_Wachtelgesang._"
9. "_Marmotte._"
10. "_Maigesang._"
11. "_Feuerfarbe._"
12. "_Ecco quel fiori istanti._"

_d._ _Songs_, for one or more voices, from Shakspere, Byron, and Moore.
_e._ "_Der Glorreiche Augenblick_," for four voices and orchestra.
_f._ "_Lied aus der Ferne._"
_g._ _Three Songs_ from Tiedge.
_h._ _Three Songs._
_i._ _Three Songs._
_k._ "_Oh! dass ich dir vom stillen Auge._"
_l._ "_Sehnsucht nach dem Rhein._"
_m._ "_Die Klage._"
_n._ _Three Andantes._
_o._ "_Ruf vom Berge._"
_p._ "_Der Bardengeist_."
_q._ "_Als die Geliebte sich trennen wollte._"
_r._ _Elegy_ on the death of a Poodle.
_s._ _Arietta_ in A flat major.
_t._ _Canon_ in E flat major.
_u._ "_Zärtliche Liebe._"
_v._ "_Resignation_," "_Lisch' aus_," in E major.
_w._ _Canon_ for six voices.
_x._ _Canon_ for four voices.
_y._ _Canon_ for three voices.
_z._ _Canon_ written in the album of Director Neide.
_tz._ _Song of the Monks_, from Schiller's "_Wilhelm Tell_."
_a^{2}._ "_Song of the Nightingale._"
_b^{2}._ "_Germania's Wiedergeburt_," for four voices and orchestra.
_c^{2}._ "_Abschiedsgesang an Wien's Bürger._"
_e^{2}._ Final songs from (1) "_Die Ehrenpforte_," in D major; (2)
"_Die gute Nachricht_."
_f^{2}._ "_Andenken von Matthison_" - allegretto.
_g^{2}._ Three-part _Song_.


IV. COMPOSITIONS WHICH APPEARED AFTER BEETHOVEN'S DEATH, WITHOUT BEING
DESIGNATED AS _Op._ OR _No._

_a._ "_Beethoven's Heimgang_," for voice and piano.
_b._ "_An Sie_," Song, in A flat major.
_c._ _Two Songs_: -

1. "_Seufzer eines Ungeliebten._"
2. "_Die laute Klage._"

_d._ "_Die Ehre Gottes in der Natur_," for four voices and orchestra,
in C major.
_e._ _Cantata: "Europa steht."_
_f._ _Song, "Gedenke mein."_
_g._ "_Empfindungen bei Lydia's Untreu_," in E flat.
_h._ "_Equali_," two pieces for four trombones.
_i._ _Allegretto_ for orchestra.
_k._ _Three Quartets._
_l._ _Rondo_ for piano and orchestra.
_m._ _Octet_ for wind instruments (now Op. 103.)
_n._ _Rondino_ for eight-part harmony.
_o._ _Two Trios_ for piano, violin, and 'cello.
_p._ _Military March_ for piano.
_q._ "_Lament at Beethoven's Grave._"
_r._ "_The Last Musical Thought._"

J. AND W. RIDER, PRINTERS, LONDON.




A NOVEL WITH TWO HEROES.

BY ELLIOTT GRAEME,

AUTHOR OF "BEETHOVEN; A MEMOIR," &C.

_In Two Vols. Post 8vo._

OPINIONS OF THE PRESS.

"We can sincerely congratulate Mr. Graeme on having achieved a decided
literary success.... The story is written in a lively and agreeable
style ... the simple life of the worthy Director is charmingly told....
Several of the portraits are evidently taken from life.... The interest
of the story centres in Mala, the beautiful girl, who inherits her
father's genius.... The characters of Mr. Chesney, the stately and
somewhat pompous rector, and of his anti-type, a parson of quite another
school, are drawn with singular truthfulness and freedom from
exaggeration." - _Athenæum._

"Above the average even of good novels ... clever and amusing ... free
from sensationalism, though full of interest, and of interest which
touches many of the deeper chords of life. Mr. Graeme's delineation of
character is remarkably good.... After all, the English rector is the
gem of the book; the crust of his character so hard, but the ring of the
metal itself, though harsh, so true.... Mr. Graeme's canvas is so
crowded, that it is really difficult to select figures for illustration.
When we have given the notice their prominence demands to some of the
leading characters, we find our heartiest admiration and our keenest
dislike really reserved for the subordinate actors, who yet are very
real in the byplay on which so much of the story turns, as it would turn
in actual life." - _Spectator._

"In 'A Novel with Two Heroes,' Mr. Graeme has produced a story of deep
interest, and something more, - he has given us a love-story, or rather,
two or three love-stories, without the least frivolity of the kind that
most of the novel-writers of the day seem to think is the necessary
accompaniment of love-making. He has shown intimate knowledge of the
springs of human nature, and a power of description which is not the
less admirable that it is quiet and unpretentious. There are some
domestic scenes which, for their simplicity and their obvious
reproduction from real life, have not often been excelled; while, again,
there are dramatic scenes powerful almost to painfulness in their
intensity, without being in the least disfigured by big or strong words.
Womanly beauty and natural scenery Mr. Graeme touches with a light hand,
contriving to tell more about them in a few words or lines than most
people could do in as many pages.... Sir Robert Chesney is a good,
plucky English lad, without a serious flaw in him, but not fond of
learning, though full of humour. His experiences with his uncle are
delightful.... It would be easy to go through the novel and pick out
passages of high excellence.... Abundant merit of a high order is shown
throughout, alike in construction, plot, and treatment." - _Scotsman._

"We can only point out some of the beauties of this fresh and
interesting production.... One of its great charms is its singular
purity.... In drawing his characters Mr. Graeme brings out strongly, yet
without the least effort, the pathetic side of most lives; and he
brightens them up at the same time with many a touch of genuine
humour.... Mr. Graeme is no surface painter.... 'A Novel with Two
Heroes' may safely be recommended to all who can appreciate delicacy of
sentiment, combined with clever portraiture and thorough knowledge of
life." - _Morning Post._

"One of the most promising works of fiction which it has been our lot to
encounter of late years. Not for a long time have we read a more
pleasant and enjoyable story, full of poetry and life and music, rich in
subtle delineation of character, vigorous word-painting, and graphic
portraitures, all steeped in that delightful dreaminess and mystic
beauty with which German tales are so often and so richly flavoured....
We have been led to dwell at length on the defects of Mr. Graeme's work
because it is one of those productions which can stand, and, we shall
add, deserve severe criticism. Were the faults a hundred times more
numerous and grave than we have indicated, the novel would still be a
remarkable production. The pictures of German life - the St. Cecilian
festival, the _Fastnacht_, or annual Saturnalia at Lent, the Procession
of St. Agnes, the sails on the river, &c., &c., are all painted with a
fidelity and power not often met with but in Scott. Even more remarkable
are the humour and pathos, as well as the variety and originality of the
portraitures. Every character is full of life and
individuality." - _Glasgow Herald._

"This work has sterling merits." - _Saturday Review._

"Better worth reading than five out of six of the novels of the
day." - _Examiner._

"Will be heartily welcomed by all lovers of a good story." - _Graphic._

"Uncommon scenes and characters uncommonly well
described." - _Illustrated London News._

"Mr. Graeme has an eye for colours. He seizes upon the telling points of
a story, and paints in the picturesque details of a passing
scene." - _Westminster Review._

"Very lifelike; displays depth and originality of thought." - _John
Bull._

"Superior in all respects to the common run of novels." - _Daily News._

"A novel with some delightfully fresh characters; ... not a page but is
attractive." - _Daily Telegraph._

"This eminently readable novel ... displays an acquaintance with human
nature, and a power of description of the happiest kind." - _Leeds
Mercury._

LONDON: CHARLES GRIFFIN AND COMPANY.








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