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The Creation of Beethoven's 35 Piano Sonatas screenshot
English | 2017 | ISBN: 1472414314, 1472414322 | 240 pages | PDF | 3,8 MB
Beethoven’s piano sonatas are a cornerstone of the piano repertoire and favourites of both the concert hall and recording studio. The sonatas have been the subject of much scholarship, but no single study gives an adequate account of the processes by which these sonatas were composed and published. With source materials such as sketches and correspondence increasingly available, the time is ripe for a close study of the history of these works. Barry Cooper, who in 2007 produced a new edition of all 35 sonatas, including three that are often overlooked, examines each sonata in turn, addressing questions such as: Why were they written? Why did they turn out as they did? How did they come into being and how did they reach their final form? Drawing on the composer’s sketches, autograph scores and early printed editions, as well as contextual material such as correspondence, Cooper explores the links between the notes and symbols found in the musical texts of the sonatas, and the environment that brought them about. The result is a biography not of the composer, but of the works themselves.

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Beethoven has 32 complete sonatas, so to be sonata it must have all the movements. By the way, this book is great.
This way, If it is to include a found Sonata that Beethoven composed as a child, before Op 2 No.1, then there would be 36 sonatas, it sounds very childish and does not reflect the mature Beethoven.

It is strange for the author to make no mention of Kuhlak, who was the pianist, editor and researcher of Beethoven's sonatas, he took great care in the middle of the XIX century about his editions, so that the scores did not contain commom errors.
Also missed to comment 'Hans von Bülow' who edited lots of Beethoven's scores that contain many errors later copied to date by less reliable publishers like 'Dover'.

These 35 sonatas reminds me of Schubert's unfinished Symphony No. 8 that was found in a drawer, well after his death, no one knows if he started this symphony and left it to conclude later as there were only the first and second movements , never encountered the third movement, so it gained the name of unfinished.

Many of the Baroque works attributed to the great 'J.S.Bach', are no longer, of course, of course those smaller pieces, which they thought were from the great composer, but every day one discovers that someone in the past, without knowing to whom he belonged, attributed the name Bach without any criterion, even so, we still don't know to whom it belonged.

Another thing we should not trust is the URTEXT editions of Chopin's work, because as soon as he died they found a lot of useless sketches that the composer himself would have abandoned and scrawled, it is known there because it was sold, donated or borrowed and went to a museum in the USA and, of course, some idiosyncratic gentlemen without what to do, found this score a great discover, as if it were a first sketch of Chopin's great Opus 18 Valse, perhaps he began to write and years later remade the work, only thus published and dedicated to 'Laura Horsford'.

Beethoven's 'Für Elise' was found and published 40 years after his death in 1867, the sketches were at the home of his student girl, who had died.

Finally, Beethoven has 32 sonatas divided into two phases, 16 first and 16 second phase, of which divisions mark his evolution as composer of a supreme and balanced hearing, and one can use the philosophy of German Hegel: the triad thesis, antithesis, synthesis to explain his musical evolution, Hegel who by coincidence was born in the same year of Beethoven 1770 and died 4 years after him.
I would love to, the discovery of his other sonatas, but, provided the calligraphy is identical, that is, with all the scribbling and writing scrawls he possessed.

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