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• W285241366 abstract "IN THE SUMMER 1998 ISSUE OF THE BEETHOVEN JOURNAL, Hans-Werner Kiithen gave an account of his discovery of a string quintet arrangement of orchestral parts of Fourth Fortepiano Concerto, Opus 58, that had been authorized by Beethoven himself.1 This arrangement was evidently prepared by Franz Alexander Possinger, who worked from a copyist's manuscript score of concerto which Beethoven owned and which still survives in Vienna.2 Kuthen's ingenious observations and deductions about arrangement, and his discovery in Berlin of a copy of what appears to be Possinger's are thoroughly researched and seem wholly admirable. However, his article also discusses some annotations by Beethoven in Vienna score, which take form of sketchy elaborations to solo part, and he concludes that these were made in order to create a new fortepiano part for music This conclusion is far less convincing, being based on no firm evidence, and it can be rejected with some confidence. Previous scholars, including myself, believed these annotations to have been made for first public performance of concerto in December 1808,3 and this still seems their most probable origin. Although Kuthen repeatedly refers to combination of Possinger's quintet arrangement of orchestral parts and elaboration of solo part as the chamber music version, he consistently fails to demonstrate any direct link between arrangement and elaboration. There is indeed no reason to suppose they are connected, and any such connection would seem unlikely in view of what is known about arrangements of period in general. Arrangements of orchestral works for reduced forces were common in early nineteenth century. Kuthen cites as a parallel example Beethoven's own arrangement of second Symphony for fortepiano trio (published in 1805), although he should have noted that this was not in fact own arrangement but one certainly prepared by someone else, possibly under supervision, as has recently become clear.4 In this and all other cases known to me, arrangement was either a more or less direct transcription with as little altered as possible, or it was a somewhat simplified version - as in some fortepiano arrangements, where complexities of orchestral texture are drastically reduced. Kuthen cites no example of a chamber music version that is more elaborate than an orchestral version to match one he postulates for concerto in question. Moreover, publicly performed concertos had by this date become a genre for display, where composer-performer's most elaborate and difficult passagework would be written, whereas chamber music was by its nature more intimate and less prone to virtuosity. Even in works such as Kreutzer Sonata, which Beethoven described as very concertante, there is less emphasis on virtuosity than in an actual concerto. Thus to suggest that a chamber music version of a concerto had a more elaborate fortepiano part than its full orchestral version seems to fly in face of reason and tradition, and would need some convincing evidence in support. No such evidence exists. Another problem with Kuthen's hypothesis is that he claims Possinger used annotations to write out more elaborate fortepiano part that Beethoven supposedly intended for chamber music version. Yet Possinger could not possibly have done this. The annotations are extremely hard to decipher, and in some cases not even fully notated. Even best copyist, Wenzel Schlemmer, who had become familiar with his idiosyncratic scrawl, would have had difficulty deciphering some of them, and Possinger would have fared far worse. His skill lay as an arranger, not as an expert in handwriting. Indeed nobody before Gustav Nottebohm, first person to study sketches in detail, would have been able to transcribe them; and even Nottebohm implied that some were not legible, while Paul Badura-Skoda, working in 1950s, described several of them as illegible, almost illegible or scarcely decipherable. …" @default.
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• W285241366 date "1998-12-01" @default.
• W285241366 modified "2023-09-26" @default.
• W285241366 title "Beethoven's Fourth Fortepiano Concerto Revisited: A Response to Hans-Werner Küthen" @default.
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