Add MS 29997

Sketches of musical compositions in the hand of Beethoven. The volume may be divided into two portions, of which the former (ff. 2-5) contains what appear to be sketches of the C-sharp minor quartet, op. 131; and the latter, miscellaneous sketches, most of them apparently dating from the end of the 18th and beginning of the 19th century. On f. 33 is a fragment of a movement in 2/4 time and the beginning of an Andante affettuoso assai in F (common time), apparently from a pianoforte quartet or string quintet. On f. 14 is the date 1815. The figures 816 (f. 9) and the address 'Seilerstat[te] No 855' (f. 13) would appear to connect that portion of the MS. (ff. 9-13) with the year 1816, in which Beethoven is known to have been residing in that neighbourhood.

Passim. Sketches [by Ludwig van Beethoven] apparently intended for quartets for 2 violins, viola, and violoncello.1. Piu mosso, Andante moderato, etc., of the C sharp minor quartet (op. 131), composed in 1826. ff. 2-5. 2. Movement in E flat (common time).Possibly part of the Finale of op. 18, no. 4. f. 8. 3. Movement in 6/8 time. f. 15. 4. Movement in E flat (3/8 time). f. 34b (reversed). 5. Part of movement apparently in A (3/4 time). f. 40.

Passim. Sketches [by Ludwig van Beethoven] of what appear to be compositions for the Pianoforte. 1. Piece without title [Sieben Variational über . . . 'Kind, willst du schlafen,' 1799]. f. 8b. 2. Some variations [? in G]. f. 32. 3. Sonata in B flat (3/8 time). Only seven bars. f. 39.

ff. 7, 17, 41. Sketches of compositions for pianoforte and orchestra by Beethoven. 1. Cadenza [? to the Rondo of the concerto in G, op. 58]. Published post-humously, with other cadenzas. f. 7. 2. Movement in C minor (common time). Possibly the opening bars of the concerto, op. 37. f. 17. 3. The 'cembalo solo' part of a composition with orchestral accompaniments. f. 41.

ff. 10, 39. Sketches [by Ludwig van Beethoven] of what appear to have been intended for Canons. 1. Words illegible, f. 10. 2. 'Lerne Schweigen, O Freund.' Different from the canon to those words which appeared in 1815. f. 39.

ff. 14, 25b, 26b. Sketches, in the hand of Ludwig van Beethoven, of the following compositions: 1. The opening bars of the 1st violin part of 'Es ist Vollbracht,' the final chorus in F. Treitsche's 'Die Ehrenpforten,' 1815. For the words, see top of f. 25b (reversed). f.14. 2. 'Und siehe, es schwanden die falsche Gotter...Heil Deinem Vater, unserm Retter': part of the second chorus in 'Konig Stephan,' 1811. ff. 25b, 26b.

ff. 25, 26b. Sketches, in the hand of Ludwig van Beethoven, of arrangements of, or additional accompaniments to, portions of Handel's 'Messiah.' About 1811 (the date of other sketches on the same folios). The instruments indicated are flutes, clarinets, horns, and bassoons. 1. 'He shall feed his flock.' f. 25. 2. 'And the glory of the Lord.' f. 26b.

f. 31. Sketch in pencil, in Beethoven's hand, of a setting of the words 'gehet... findet nicht.' [From his song 'Resignation,' composed about 1817]. Paper; 42 ff. 18th-19th cent. Oblong folio. Purchased in 1876 from J[ohann Nepomuk ?] Kafka.