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楽譜
演奏
楽譜とパート譜
Breitkopf und Härtel, n.d.[n.d.1863 ].
出版社
Ludwig van Beethovens Werke, Serie 13:
Für Pianoforte und Violoncell, No.107 (pp.65-94)
Leipzig: Breitkopf und Härtel, n.d.[n.d.1863 ]. Plate B.107.
Für Pianoforte und Violoncell, No.107 (pp.65-94)
Leipzig: Breitkopf und Härtel, n.d.[n.d.1863 ]. Plate B.107.
その他の注記
Originally scanned at about 160pi, converted to 600dpi monochrome (file #52413).
Original images: 300dpi, grayscale djvu files approx. 2900 by 3780 pixels. Editing: re-sampled to 600dpi, converted to black and white tif files, de-skewed, and set uniform margins. (file #314760)
Original images: 300dpi, grayscale djvu files approx. 2900 by 3780 pixels. Editing: re-sampled to 600dpi, converted to black and white tif files, de-skewed, and set uniform margins. (file #314760)
C.F. Peters, No. 748, n.d.(ca.1890).
校訂者
Friedrich Hermann (1828-1907)
出版社
Leipzig: C.F. Peters, No. 748, n.d.(ca.1890). Plate 7984.
その他の注記
The cello part edited by Walter Schulz (1893-1967) is still under copyright - do not post here.
Breitkopf und Härtel, n.d.[1809].
J. Pleyel, n.d.(ca.1814).
出版社
Paris: J. Pleyel, n.d.(ca.1814). Plate 1065.
その他の注記
Piano part only; violoncello part wanting
Stamped on t.p.: T. Boosey & Co., Oxford. Plate 1064 is from 1814 (see Krommer Op.85 No.2), perhaps this is too. (1814: See Pleyel table. 1064 and 1066 correspond to music published in 1814 (perhaps 1813) according to BNF/Bibliographie de la France and other fairly reliable sources...)
Stamped on t.p.: T. Boosey & Co., Oxford. Plate 1064 is from 1814 (see Krommer Op.85 No.2), perhaps this is too. (1814: See Pleyel table. 1064 and 1066 correspond to music published in 1814 (perhaps 1813) according to BNF/Bibliographie de la France and other fairly reliable sources...)
Artaria & Co., n.d.(ca.1815).
出版社
Vienna: Artaria & Co., n.d.(ca.1815). Plate 2060.
Breitkopf und Härtel, n.d.(ca.1843).
出版社
Leipzig: Breitkopf und Härtel, n.d.(ca.1843). Plate 6870.
このページの内容
Breitkopf und Härtel, n.d.[n.d.1863 ].
出版社
Ludwig van Beethovens Werke, Serie 13:
Für Pianoforte und Violoncell, No.107 (pp.65-94)
Leipzig: Breitkopf und Härtel, n.d.[n.d.1863 ]. Plate B.107.
Für Pianoforte und Violoncell, No.107 (pp.65-94)
Leipzig: Breitkopf und Härtel, n.d.[n.d.1863 ]. Plate B.107.
その他の注記
Originally scanned at about 160pi, converted to 600dpi monochrome (file #52413).
Original images: 300dpi, grayscale djvu files approx. 2900 by 3780 pixels. Editing: re-sampled to 600dpi, converted to black and white tif files, de-skewed, and set uniform margins. (file #314760)
Original images: 300dpi, grayscale djvu files approx. 2900 by 3780 pixels. Editing: re-sampled to 600dpi, converted to black and white tif files, de-skewed, and set uniform margins. (file #314760)
C.F. Peters, No. 748, n.d.(ca.1890).
校訂者
Friedrich Hermann (1828-1907)
出版社
Leipzig: C.F. Peters, No. 748, n.d.(ca.1890). Plate 7984.
その他の注記
The cello part edited by Walter Schulz (1893-1967) is still under copyright - do not post here.
Breitkopf und Härtel, n.d.[1809].
J. Pleyel, n.d.(ca.1814).
出版社
Paris: J. Pleyel, n.d.(ca.1814). Plate 1065.
その他の注記
Piano part only; violoncello part wanting
Stamped on t.p.: T. Boosey & Co., Oxford. Plate 1064 is from 1814 (see Krommer Op.85 No.2), perhaps this is too. (1814: See Pleyel table. 1064 and 1066 correspond to music published in 1814 (perhaps 1813) according to BNF/Bibliographie de la France and other fairly reliable sources...)
Stamped on t.p.: T. Boosey & Co., Oxford. Plate 1064 is from 1814 (see Krommer Op.85 No.2), perhaps this is too. (1814: See Pleyel table. 1064 and 1066 correspond to music published in 1814 (perhaps 1813) according to BNF/Bibliographie de la France and other fairly reliable sources...)
Artaria & Co., n.d.(ca.1815).
出版社
Vienna: Artaria & Co., n.d.(ca.1815). Plate 2060.
Breitkopf und Härtel, n.d.(ca.1843).
出版社
Leipzig: Breitkopf und Härtel, n.d.(ca.1843). Plate 6870.
Selections
Selections
Holograph manuscript, n.d.[1808].
出版社
Holograph manuscript, n.d.[1808].
その他の注記
This first movement in a first version is the only surviving source in Beethoven's own hand apart from the sketches. The structure of the gathering and the musical text lead one to suppose that the manuscript was once complete and contained all the movements.