Page 11 - UM0023-Concerto No. 6 in D major for Piano and Orchestra-Beethoven
P. 11

Beethoven’s handwritings, sources




                    Beethoven, Ludwig van: Konzerte. Skizzen; D-Dur; HessB 1957 15, 1815, Autograph score MS Artaria 184,
                      Staatsbibliothek zu Berlin, Preussischer Kulturbesitz, Berlin, http://digital.staatsbibliothek-berlin.de
                    Beethoven, Ludwig van: Skizzen, 1806, Sketchbook Grasnick 20b, Staatsbibliothek zu Berlin, Preussischer Kulturbesitz,
                      Berlin, http://digital.staatsbibliothek-berlin.de
                    Beethoven, Ludwig van: Skizzen, 1801-1826, Sketchbook Landsberg 10, pages 79-82, Staatsbibliothek zu Berlin,
                      Preussischer Kulturbesitz, Berlin, http://digital.staatsbibliothek-berlin.de
                    Beethoven, Ludwig van: Sketchbooks Mendelssohn 1 (page 4-6, 7, 9) and Mendelssohn 6 (page 114-133), Biblioteka
                      Jagiellońska, Kraków, Jagiellonian Digital Library, http://www.bj.uj.edu.pl
                    Beethoven, Ludwig van: Scheide Sketchbooks, pages 4-32, formerly known as the Von Miller, Koch, and Flörsheim
                      sketchbook, Scheide B.M. Add. MS 29997, Department of Rare Books and Special Collections, Scheide Library of Princeton
                      University http://arks.princeton.edu/ark:/88435/9019s254t




               Literature




                    Nottebohm, Gustav, 'Ein unvollendetes Clavierconcert', in Zweite Beethoveniana: nachgelassene Aufsatze (Leipzig, 1887),
                      223-4.
                    Lockwood, Lewis, ‘Beethoven’s unfinished piano concerto of 1815: sources and problems’, Musical Quarterly, 56 (1970),
                      624-46; reprinted in Paul Henry Lang (ed.), The creative world of Beethoven (New York, 1971), 122-44.
                    Cook, Nicholas, ‘Beethoven’s unfinished piano concerto: a case of double vision?’, Journal of the American Musicological
                      Society 42 (1989), 338-74 and a response on this article by Lewis Lockwood, Journal of the American Musicological
                      Society 43 (1990).





















































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