Symphony No.14 in C major (Witt, Friedrich)
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Sheet Music
Full Scores
Complete Score
*#244621 - 1.84MB, 72 pp. - (0) - V/V/V* - 304x⇩
PDF scanned by Bibl. Dig. Hispánica
Cypressdome (2012/7/30)
Fritz Stein (1879–1961)
First edition
Leipzig: Breitkopf und Härtel, 1911. Plate 27157.
Study score.
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Complete Score
*#154930 - 1.29MB, 110 pp. - (0) - !N/!N/!N - 334x⇩
PDF typeset by Alonso del Arte
Alonso del Arte (2011/11/22)
Alonso del Arte
Alonso del Arte
Creative Commons Attribution Non-commercial 3.0 [tag/del]
There is a mistake with the violas at the beginning of the minore middle section of the slow movement: they should have an eighth rest instead of a whole rest as that is a pick-up measure. The mistake also appears in the viola part and it will be corrected there first.
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Parts
Alonso del Arte
Alonso del Arte
Creative Commons Attribution Non-commercial 3.0 [tag/del]
This edition includes the first measure that is missing in some performances. If the conductor wishes to omit it, the librarian should cross it out in the parts.
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Horn 1 (F)
*#139878 - 0.25MB, 7 pp. - (0) - !N/!N/!N - 78x⇩
Horn 2 (F)
*#139879 - 0.25MB, 7 pp. - (0) - !N/!N/!N - 61x⇩
Trumpet 1 (C)
*#126094 - 0.22MB, 6 pp. - (0) - !N/!N/!N - 69x⇩
Trumpet 2 (C)
*#123310 - 0.23MB, 6 pp. - (0) - !N/!N/!N - 65x⇩
Alonso del Arte
Alonso del Arte
Creative Commons Attribution Non-commercial 3.0 [tag/del]
Horns in F as opposed to in C in the original; but I maintain the archaic tradition of transposing in the opposite direction when in the bass clef (this applies only to the second horn, e.g., shortly after letter B in the first movement, the part is read up a fourth instead of down a fifth). Trumpets in C throughout just as in original. This edition includes the first measure that is missing in some performances. If the conductor wishes to omit it, the librarian should cross it out in the parts.
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Violins II
*#141064 - 0.35MB, 10 pp. - (0) - !N/!N/!N - 74x⇩
Double Basses
*#152788 - 0.31MB, 10 pp. - (0) - !N/!N/!N - 49x⇩
Alonso del Arte
Alonso del Arte
Creative Commons Attribution Non-commercial 3.0 [tag/del]
This edition includes the first measure that is missing in some performances. If the conductor wishes to omit it, the librarian should cross it out in the parts. There was a mistake in the viola part at the beginning of the minore middle section of the slow movement: they should have an eighth rest rather than a whole rest—this has been fixed in the part but not yet in the score (and it's not a high priority to fix it there because the conductor can easily see and understand the nature of the mistake).
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General Information
| Work Title | Symphony No.14 in C major |
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| Alternative Title | “Jena” Symphony |
| Composer | Witt, Friedrich |
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| Opus/Catalogue Number | Fischer 14 |
| Key | C major |
| Movements/Sections | 4 movements |
| Year/Date of Composition | 1793? |
| First Performance | 1794? |
| First Publication | 1911 – Leipzig: Breitkopf und Härtel |
| Average Duration | 25 minutes |
| Piece Style | Classical |
| Instrumentation | Orchestra: flute, 2 oboes, 2 bassoons + 2 horns, 2 trumpets + timpani + strings |
| External Links | RISM 280000018 (manuscript copy, Weimar)
RISM 250001792 (ms copy, Jena) |
Misc. Comments
Once attributed to Ludwig van Beethoven. Parts were found in Jena listing “Louis van Beethoven” as the author. When Fritz Stein found these parts, he doubted the attribution but became convinced it was authentic Beethoven due to the score containing certain “Beethovenisms”. Others were not so sure, suggesting most or all of it had been written by a lesser-known composer. Finally a score and parts were found with the correct author: Friedrich Witt. Regardless of who wrote it, this symphony is an excellent exemplar of the classical symphony prior to Beethoven’s Eroica.
Much ado about one measure. As Fischer points out in the Garland edition of other Symphonies by Witt, the source of Stein’s edition was missing the first measure. There are other scores missing the first measure and the second bassoon or both bassoons. The first measure neatly ties the beginning of the work to the very end (the last two measures). However, omission of the first measure lends greater credence to the Beethoven attribution.
