Ludwig van Beethoven
First edition of the vocal score of Fidelio
Ouverture aus der Oper Fidelio...Für das Piano-Forte auf 4 Hände übersetzt von Joh. Nep. Hummel, [second act title: 'Fidelio grosse Oper in Clavierauszug'], Vienna: bey Artaria und Comp., [1814]
FIRST EDITION OF THE COMPLETE OPERA, BUT WITH THE OVERTURE IN THE ARRANGEMENT FOR PIANO FOUR-HANDS BY HUMMEL, oblong 4to (24.3 x 34cm), 17 separate numbers, individually paginated, engraved throughout, plate numbers 2359 (overture) and 2328-2343 (nos.1-16), the 'Introduction' numbered in pencil, second title to Act 2, modern half calf, lacking title and dedication
together with:
Acht Lieder mit Begleitung des Claviers gesetzt von L. van Beethoven op 52, Vienna: im Kunst und Industrie Comptoir, [1805], FIRST EDITION, 19 pages, oblong 4to (23 x 33.4cm), engraved throughout, plate number 408, contemporary paper-wrappers with label and manuscript title ("8 Lieder von L: van Beethoven"), modern cloth folder, some light damp-staining to lower outer corner of last few leaves, tiny tear to lower margin of first leaf
Christus am Oelberge Oratorium in Musik gesetzt von L.v. Beethoven. Partitur. 85tes Werk...Pr. 5 Rthlr [full score], Leipzig: Bey Breitkopf & Härtel, [1811 or later], 132 pages, folio (34.3 x 26.8cm), with the new lithographed title-page, engraved music, plate number 1616, Cortot's stamp to title, with separate inserted printed libretto, modern morocco binding incorporating original blue upper wrapper, without blank final leaf, some light damp-staining The vocal score of Fidelio was published in 17 separate parts, and thus with no continuous pagination throughout. The present copy contains crisp and clear first issues of all 16 numbers of the vocal score (including the blanks), but is sold with the four-hand arrangement of the overture by Hummel instead of the two-hand version by Moscheles, which also dates from 1814. There is a separate title-page for Act 2 and seven blank leaves between the separately-issued numbers, all of which are missing in later issues of this edition. A first edition of the score was not published until 1826.
The op.52 songs comprise the following: Urians Reise um die Welt, composed before 1793, the poem by M. Claudius; Feuerfarb, composed in 1792, revised in 1793-4, the poem by S. Mereau; Das Liedchen von der Ruhe, composed in 1793, the poem by H.W.F. Ueltzen; Maigesang, composed probably before 1796, the poem by Goethe; Mollys Abschied, date of composition unknown, the poem by G.A. Bürger; Die Liebe, composed before 1793, the poem by Lessing; Marmotte, composed possibly between 1790 and 1792, the poem by Goethe; and Das Blümchen Wunderhold, date of composition unknown, the poem by Bürger.
Christus am Oelberge was the first work by Beethoven to be published in his native land of Germany. A vocal score was also produced in the same year as the first edition of the full score (1811). It is Beethoven’s only oratorio, set to a libretto by F.X. Huber. LITERATURE:BWV, pp.285 (op.52), 439 and 447-448 (op.72), 545 (op.85); Hoboken, ii 248 (op.52), 319 (op.72), cf. 373 (op.85) PROVENANCE:Sotheby's, London, 8 June 2011 (lot 210); Otto Haas (op.52 and op.85)
Ludwig van Beethoven
First edition of the vocal score of Fidelio
Ouverture aus der Oper Fidelio...Für das Piano-Forte auf 4 Hände übersetzt von Joh. Nep. Hummel, [second act title: 'Fidelio grosse Oper in Clavierauszug'], Vienna: bey Artaria und Comp., [1814]
FIRST EDITION OF THE COMPLETE OPERA, BUT WITH THE OVERTURE IN THE ARRANGEMENT FOR PIANO FOUR-HANDS BY HUMMEL, oblong 4to (24.3 x 34cm), 17 separate numbers, individually paginated, engraved throughout, plate numbers 2359 (overture) and 2328-2343 (nos.1-16), the 'Introduction' numbered in pencil, second title to Act 2, modern half calf, lacking title and dedication
together with:
Acht Lieder mit Begleitung des Claviers gesetzt von L. van Beethoven op 52, Vienna: im Kunst und Industrie Comptoir, [1805], FIRST EDITION, 19 pages, oblong 4to (23 x 33.4cm), engraved throughout, plate number 408, contemporary paper-wrappers with label and manuscript title ("8 Lieder von L: van Beethoven"), modern cloth folder, some light damp-staining to lower outer corner of last few leaves, tiny tear to lower margin of first leaf
Christus am Oelberge Oratorium in Musik gesetzt von L.v. Beethoven. Partitur. 85tes Werk...Pr. 5 Rthlr [full score], Leipzig: Bey Breitkopf & Härtel, [1811 or later], 132 pages, folio (34.3 x 26.8cm), with the new lithographed title-page, engraved music, plate number 1616, Cortot's stamp to title, with separate inserted printed libretto, modern morocco binding incorporating original blue upper wrapper, without blank final leaf, some light damp-staining The vocal score of Fidelio was published in 17 separate parts, and thus with no continuous pagination throughout. The present copy contains crisp and clear first issues of all 16 numbers of the vocal score (including the blanks), but is sold with the four-hand arrangement of the overture by Hummel instead of the two-hand version by Moscheles, which also dates from 1814. There is a separate title-page for Act 2 and seven blank leaves between the separately-issued numbers, all of which are missing in later issues of this edition. A first edition of the score was not published until 1826.
The op.52 songs comprise the following: Urians Reise um die Welt, composed before 1793, the poem by M. Claudius; Feuerfarb, composed in 1792, revised in 1793-4, the poem by S. Mereau; Das Liedchen von der Ruhe, composed in 1793, the poem by H.W.F. Ueltzen; Maigesang, composed probably before 1796, the poem by Goethe; Mollys Abschied, date of composition unknown, the poem by G.A. Bürger; Die Liebe, composed before 1793, the poem by Lessing; Marmotte, composed possibly between 1790 and 1792, the poem by Goethe; and Das Blümchen Wunderhold, date of composition unknown, the poem by Bürger.
Christus am Oelberge was the first work by Beethoven to be published in his native land of Germany. A vocal score was also produced in the same year as the first edition of the full score (1811). It is Beethoven’s only oratorio, set to a libretto by F.X. Huber. LITERATURE:BWV, pp.285 (op.52), 439 and 447-448 (op.72), 545 (op.85); Hoboken, ii 248 (op.52), 319 (op.72), cf. 373 (op.85) PROVENANCE:Sotheby's, London, 8 June 2011 (lot 210); Otto Haas (op.52 and op.85)
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