Piano Sonata No.8, Op.13 (Beethoven, Ludwig van)
Galaxy Bösendorfer 290
For Guitar (Nachbaur)
These file(s) are part of the Werner Icking Music Collection.
London: Monzani & Hill, n.d.[1820-25]
This file is part of the Gaylord Library Mirroring Project.
New York: Edwin F. Kalmus, n.d.(after 1933). - #243128
John Henry Cornell (1828-1894), English text
Stuttgart: J.G. Cotta, Ed.127, n.d.(ca.1875). Plate 32.
*Despite the credit printed on this 1948 issue, all sources available indicate that Lebert, not Bülow, was the editor of the Cotta edition from Opp.2 through 49. Grayscale, little damage at one corner of original
Sonaten für Pianoforte solo, Bd.1
Leipzig: C.F. Peters, n.d.(ca.1910). Plate 9452.
Alfredo Casella (1883-1947)
Original images: 300dpi, color jpg2000 files approx. 2950 by 4250 usable pixels.
Editing: converted to black and white tif files, de-skewed, re-sampled to 600dpi, and set uniform margins. See Sonate per pianoforte for complete volumes including preface.
Sonaten für Klavier zu zwei Händen, Bd.1 (pp.144-61)
Leipzig: C.F. Peters, n.d.(ca.1920). Plates 10543, 10555-56.
[Martienssen revision], n.d.. - #66397
Albert W. Berg (1825–1906)
New York: Firth, Pond & Co., 1857. Plate 4163.
Some see-through trouble with pages, but (possibly) interesting redistribution of staves compared to (at least) one other edition. Basically the same text except for the lack of a tie mark between two bars (unless it's subtle and hard to read which it may be because of the other problems.)
Arrangements and Transcriptions
II. Adagio cantabile
For Flute and Piano (Klemcke)
Ludwig Friedrich Wilhelm Klemcke (d.1895)
Heilbronn: C.F. Schmidt, n.d.(ca.1880). Plate C.F.S. 236-246.
Violin part in piano score
Transposed to A major
For Violin and Piano (Vogel and Lefort)
For Violin and Piano (Lamoury)
For Viola and Piano (Sitt)
Hans Sitt (1850-1922)
Sammlung Klassischer und Moderner Stücke für Bratsche und Klavier Vol.1 No.3
Leipzig: Steingräber, (1919). Plate 2066.
For Cello and Piano (Lamoury)
Philipp Lamoury (1837-1890)
Paris: E. Minier, n.d.. Plate E.M. 1797.
Transcribed to A major
For Cello and Piano (Vogel and Guérout)
For Cello and Piano (Schletterer and Werner)
- See: 9 Tonstücke No.1
For Organ (André)
For Organ (Sulze)
For Guitar (Nachbaur)
For Guitar (Tárrega)
|Work Title||Piano Sonata No.8|
|Composer||Beethoven, Ludwig van|
|Year/Date of Composition||1798|
|Dedication||Prince Karl von Lichnowsky|
|Average Duration||19-20 minutes|
|External Links||Wikipedia article|
Nachbaur's comments on his Guitar arrangement
This arrangement for solo guitar was developed over the course of approximately one year. It is not particularly difficult, the hardest part is getting smooth shifts in position without excessive fret noise.
The original is in A-flat major, but the guitar adaptation was done in the much easier key of A major. If you wish to adhere to the original tonality, tune your guitar one semitone flat. This also gives a deep, rich quality which is especially appropriate for this beautiful composition.
I have maintained the original tempo and time signature, even though all those sixteenth notes make the piece look more formidable than it really is. Suggested tempo is 30 beats per quarter note (or set your metronome for 60 beats and count eighth notes).
The midi demo can be used as a learning aid, or simply to evaluate the arrangement before committing time to learning it. It will be virtually impossible to derive a meaningful score from the midi file, since each string of the guitar was assigned to its own track to make the midi performance more realistic.
Dynamics were intentionally left out of the score, to encourage the performer to become involved in the process of arranging by working out his/her own interpretation. Similarly, tempo variances were kept to a bare minimum. The midi demo gives examples of both, for the player's evaluation.
Fingering is extensively marked in the first 2/3 of the piece. However, if you find easier or better fingerings for your own playing style, don't adhere to the ones provided just because they are written. The last section is essentially the same fingering as the opening theme, except with a different rhythm. For this reason the fingerings were not provided here.