Bonn: N. Simrock [PN] 422, [ca. 1805]. Oblong and upright folio. Disbound. Piano part: 1f. (title),  (blank), 4-35, [i] (blank) pp. Engraved. Price: "6 Fr." Annotations to title page in French in faint red crayon, partly illegible: "44 planch[es] Simphonie même [?]retourner." Violin part: 12 pp.
Piano part extensively marked up for re-engraving in an unknown hand, occasionally in ink ("Commencer planche 2" and "Beethoven, op. 47" at head of p. 4); annotations to title in faint red crayon, partially illegible: "44 planch[es] Simphonie même [?]retourner;" additional annotations in red crayon and pencil; pagination amended to exclude blanks; references at page ends with custos function ("V.S.", "V. Var. 1," etc.) deleted; system rebreaks indicated; numerous errors in notation corrected; fingerings added (apparently in another hand, not for re-engraving). Violin part from another copy.
First Edition, later issue with corrections to title consisting of "uno stile" instead of "uno stilo" in the 3rd line and the insertion of "per" before the composer's name. Kinsky p. 111. Dorfmüller plates 2 und 3. Hoboken 2, 228 (violin part could also be 227).
The piano part of the present copy evidently served as a Stichvorlage for a later edition that remains to be identified. The French directives would suggest a French publisher, or at least a French engraver; the system rebreaks imply that the new edition was no longer to be in oblong format. Jacob Lateiner's catalogue card claims: "This copy used by Farrenc to publish his own edition." No edition of op. 47 by Farrenc has, however, been traced.
Beethoven completed the Kreutzer Sonata in 1803. He had intended to dedicate it to the violinist George P. Bridgetower (1778-1860), for whom he wrote the work and who gave its first performance. Beethoven changed his mind and dedicated it to the French violin virtuoso and composer Rodolphe Kreutzer (1766-1831), "who had made a very favourable first impression on him. Ironically, Kreutzer then refused the play the sonata, which he reportedly found 'outrageously unintelligible.' " Kaplan: The Cambridge Companion to Beethoven, p. 138.
Bridgetower, an English violinist, was the son of a West Indian father and a European mother. "He appeared at court in Windsor, and at concerts in Bath and Bristol, before making his London début at the Drury Lane Theatre oratorio on 19 February 1790. His concerto performances here attracted the notice of the Prince of Wales (later King George IV)... During the next decade he played at many prestigious London concerts, appearing alongside Haydn at Salomon's series... It was through Prince Lichnowsky that Bridgetower met Beethoven in the spring of 1803 and that their famous concert (in the Augarten, 0n 24 May) was financed... There is no question that Beethoven, who spoke highly of Bridgetower both as a soloist and as a quartet player, intended to dedicate this sonata to the young violinist... But the two men later fell out of favour with one another, allegedly after a quarrel over a girl..." George Grove in Grove Music Online.
"The virtuosity and scale of this famous sonata proclaim it even more decidedly a middle-period work. In composing it in, as the original title-page says, 'a very concertante style, almost like a concerto', Beethoven transferred the violin sonata from the private salon to the concert hall (at a time when public concerts were becoming established in Vienna) and did for the medium what the 'Razumovsky' Quartets did for the string quartet and the 'Waldstein' and 'Appassionata' Sonatas for the piano sonata." Arnold and Fortune: The Beethoven Reader, p. 220.
A particularly interesting copy. Item #22961
Price: $4,500.00 other currencies