Op 50 beethoven biography
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Beethoven Romances in F major Opus 50 and G major Opus 40 for Violin and Orchestra
Editor: Del Mar, Jonathan
Arranger: Schelhaas, Martin
Orchestral scoring : V-solo/Fl/2Ob/2bassoon/2Hn/2V/Va/Vc/double bass
Product format: piano reduction, part(s), Anthology, Urtext edition
Binding: Stapled
Pages / Format: 38885 - 31,0 x 24,3 cm
Beethoven’s "Romances" are performed all over the world, yet how many conductors, performers and listeners are aware that op. 50 which was incidentally composed before op. 40, comes down to us in an unfinished form? The autograph score contains little to no articulation or dynamics and to the present day the work has existed only in highly over-edited publications. The performer has no way of knowing what was originally intended by the composer.
Bärenreiter’s new Urtext edition of opp. 50 and 40 offers the score to op. 50 twice; the first score reflects the state of Beethoven’s autograph with editorial markings clearly indicated, the second score has been edited based on other works by Beethoven from that period. This manner of publishing remains true to the sources and at the same time offers musicians a reliable transparent score for performances.
In addition to the Urtext solo part, a second solo part with fingering and bowing by
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Romance No. 2 in F Major, dump. 50
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BEETHOVEN: Romance No. 1 for Violin
If you think of Beethoven as the ever-serious composer who often made things difficult for himself, challenging his players and his listeners, you’re in good company. But the Romance No. 1 in G for Violin and Orchestra will defy your expectations. While Beethoven sometimes wrote “against” the instrument, pushing the conventions of technique, his two lustrous violin romances are sometimes called “violinistic” — written to fit the traditions that violin soloists love.
That sense of comfortably fitting the instrument was not easily achieved, then or now. Like Mozart, Beethoven was himself a virtuoso instrumentalist (on the piano) who gravitated to Vienna for its culture of musical appreciation. In the late 1790s he was probably the city’s most eminent musical celebrity (Mozart had died in 1791). This time in Beethoven’s life is often called his “middle period,” and its compositions engage large-scale ideas in the symphonies and concertos. The romances show reveal him in a more relaxed vein. The Romance No. 2 was composed in 1798, four years earlier than the Romance No. 1, but was published four years later, in 1805, and bears a later opus number (50) than the G major’s number 40. His