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== History ==
== History ==
The score was not published until 1867, 40 years after the composer's death. The discoverer of the piece, [[Ludwig Nohl]], affirmed that the original autographed manuscript was dated 27 April 1810.<ref name="Fuld2000">{{cite book|last=Fuld|first=James J.|title=The book of world-famous music: classical, popular, and folk|url=http://books.google.com/books?id=EVninY59ul0C&pg=PA241|accessdate=25 April 2011|date=2000-03-20|publisher=Courier Dover Publications|isbn=9780486414751|page=241}}</ref> This manuscript has been lost.
The score was not published until 1867, 40 years after the composer's death. The discoverer of the piece, [[Ludwig Nohl]], affirmed that the original autographed manuscript was dated 27 April 1810.<ref name="Fuld2000">{{cite book|last=Fuld|first=James J.|title=The book of world-famous music: classical, popular, and folk|url=http://books.google.com/books?id=EVninY59ul0C&pg=PA241|accessdate=25 April 2011|date=2000-03-20|publisher=Courier Dover Publications|isbn=9780486414751|page=241}}</ref> This manuscript has been lost.

⚫
[[Image:Therese Malfatti Anonymus.jpg|thumb|Therese Malfatti, widely believed to be the dedicatee of "Für Elise"]]

⚫
It is not certain who "Elise" was. [[Max Unger (musicologist)|Max Unger]] suggested that Ludwig Nohl may have transcribed the title incorrectly and the original work may have been named "Für Therese",<ref>[[Max Unger (musicologist)|Max Unger]], translated by Theodore Baker, "Beethoven and Therese von Malfatti," ''The Musical Quarterly'' 11, no.&nbsp;1 (1925): 63–72.</ref> a reference to [[Therese Malfatti]] von Rohrenbach zu Dezza (1792–1851). She was a friend and student of Beethoven's to whom he proposed in 1810, though she turned him down to marry the Austrian nobleman and state official Wilhelm von Droßdik in 1816.<ref>Michael Lorenz: "Baronin Droßdik und die verschneyten Nachtigallen. Biographische Anmerkungen zu einem Schubert-Dokument", ''Schubert durch die Brille'' 26, (Tutzing: Schneider, 2001), pp.&nbsp;47–88.</ref> According to a recent study by Klaus Martin Kopitz, there is flimsy evidence that the piece was written for the German soprano singer [[Elisabeth Röckel]] ([[1793]]–[[1883]]), later the wife of [[Johann Nepomuk Hummel]]. "Elise", as she was called by a parish priest (she called herself "Betty" too), had been a friend of Beethoven's since 1808.<ref>Klaus Martin Kopitz: ''Beethoven, Elisabeth Röckel und das Albumblatt „Für Elise“'', Köln: Dohr, 2010, ISBN 9783936655872.</ref> In the meantime the Austrian musicologist Michael Lorenz<ref>Michael Lorenz: "'Die enttarnte Elise'. Die kurze Karriere der Elisabeth Röckel als Beethovens 'Elise'", ''Bonner Beethoven-Studien'' vol. 9, (Bonn 2011), 169-90.</ref> has shown that Rudolf Schachner, who in 1851 inherited Therese von Droßdik's musical scores, was the illegitimate son of Babette Bredl (who in 1865 let Nohl copy the autograph in her possession). Thus the autograph must have come to Babette Bredl from Therese von Droßdik's estate and Kopitz's hypothesis is refuted.


The version of 'Fur Elise' we hear today is in fact an earlier version that was transcribed by Ludwig Nohl. There is in fact a later version, with drastic changes to accompaniment - which was transcribed from a later manuscript by Barry Cooper. The most notable difference is in the first theme, the left-hand arpeggio's are delayed by a 16th note beat. There are a few extra bars in the transitional section into the B section; and finally - the rising A minor arpeggio figure is moved later into the piece. The tempo marking 'Poco Moto' is believed to have been on the manuscript that Ludwig Nohl transcribed (now lost). The later version includes the marking 'Molto Grazioso'. It's believed that Beethoven intended on adding the piece to a cycle of Bagatelles.{{CN|date=June 2011}}
The version of 'Fur Elise' we hear today is in fact an earlier version that was transcribed by Ludwig Nohl. There is in fact a later version, with drastic changes to accompaniment - which was transcribed from a later manuscript by Barry Cooper. The most notable difference is in the first theme, the left-hand arpeggio's are delayed by a 16th note beat. There are a few extra bars in the transitional section into the B section; and finally - the rising A minor arpeggio figure is moved later into the piece. The tempo marking 'Poco Moto' is believed to have been on the manuscript that Ludwig Nohl transcribed (now lost). The later version includes the marking 'Molto Grazioso'. It's believed that Beethoven intended on adding the piece to a cycle of Bagatelles.{{CN|date=June 2011}}


The pianist and musicologist [[:es:Luca Chiantore|Luca Chiantore]] argued in his [[Thesis or dissertation|doctoral thesis]] and his recent book [http://www.editorialnortesur.com/libros/Beethoven-al-piano.html "Beethoven al piano"] that Beethoven might not have been the person who gave the piece the form that we know today. Chiantore suggested that the original signed manuscript, upon which Ludwig Nohl claimed to base his transcription, may never have existed.<ref>Luca Chiantore: ''Beethoven al piano''. Barcelona: Nortesur, 2010, p. 333-360, ISBN 9788493735760</ref> On the other hand, the musicologist Barry Cooper stated, in a 1984 essay in the Musical Times, that one of two surviving sketches closely resembles the published version.<ref>{{cite news |title=Who Wrote "Für Elise"?|date=2009-10-16 |publisher=The New Yorker |url=http://www.newyorker.com/online/blogs/alexross/2009/10/who-wrote-fur-elise.html}}</ref>
The pianist and musicologist [[:es:Luca Chiantore|Luca Chiantore]] argued in his [[Thesis or dissertation|doctoral thesis]] and his recent book [http://www.editorialnortesur.com/libros/Beethoven-al-piano.html "Beethoven al piano"] that Beethoven might not have been the person who gave the piece the form that we know today. Chiantore suggested that the original signed manuscript, upon which Ludwig Nohl claimed to base his transcription, may never have existed.<ref>Luca Chiantore: ''Beethoven al piano''. Barcelona: Nortesur, 2010, p. 333-360, ISBN 9788493735760</ref> On the other hand, the musicologist Barry Cooper stated, in a 1984 essay in the Musical Times, that one of two surviving sketches closely resembles the published version.<ref>{{cite news |title=Who Wrote "Für Elise"?|date=2009-10-16 |publisher=The New Yorker |url=http://www.newyorker.com/online/blogs/alexross/2009/10/who-wrote-fur-elise.html}}</ref>

=== Identity of "Elise" ===
⚫
[[Image:Therese Malfatti Anonymus.jpg|thumb|Therese Malfatti, widely believed to be the dedicatee of "Für Elise"]]

⚫
It is not certain who "Elise" was. [[Max Unger (musicologist)|Max Unger]] suggested that Ludwig Nohl may have transcribed the title incorrectly and the original work may have been named "Für Therese",<ref>[[Max Unger (musicologist)|Max Unger]], translated by Theodore Baker, "Beethoven and Therese von Malfatti," ''The Musical Quarterly'' 11, no.&nbsp;1 (1925): 63–72.</ref> a reference to [[Therese Malfatti]] von Rohrenbach zu Dezza (1792–1851). She was a friend and student of Beethoven's to whom he proposed in 1810, though she turned him down to marry the Austrian nobleman and state official Wilhelm von Droßdik in 1816.<ref>Michael Lorenz: "Baronin Droßdik und die verschneyten Nachtigallen. Biographische Anmerkungen zu einem Schubert-Dokument", ''Schubert durch die Brille'' 26, (Tutzing: Schneider, 2001), pp.&nbsp;47–88.</ref> According to a recent study by Klaus Martin Kopitz, there is flimsy evidence that the piece was written for the German soprano singer [[Elisabeth Röckel]] ([[1793]]–[[1883]]), later the wife of [[Johann Nepomuk Hummel]]. "Elise", as she was called by a parish priest (she called herself "Betty" too), had been a friend of Beethoven's since 1808.<ref>Klaus Martin Kopitz: ''Beethoven, Elisabeth Röckel und das Albumblatt „Für Elise“'', Köln: Dohr, 2010, ISBN 9783936655872.</ref> In the meantime the Austrian musicologist Michael Lorenz<ref>Michael Lorenz: "'Die enttarnte Elise'. Die kurze Karriere der Elisabeth Röckel als Beethovens 'Elise'", ''Bonner Beethoven-Studien'' vol. 9, (Bonn 2011), 169-90.</ref> has shown that Rudolf Schachner, who in 1851 inherited Therese von Droßdik's musical scores, was the illegitimate son of Babette Bredl (who in 1865 let Nohl copy the autograph in her possession). Thus the autograph must have come to Babette Bredl from Therese von Droßdik's estate and Kopitz's hypothesis is refuted.


== Music ==
== Music ==

Revision as of 01:30, 6 November 2011

"Für Elise", opening

Bagatelle No. 25 in A minor (WoO 59 and Bia 515) for solo piano, commonly known as "Für Elise" (English: "For Elise"), is one of Ludwig van Beethoven's most popular compositions.[1][2][3] It is usually classified as a bagatelle, but it is also sometimes referred to as an Albumblatt.

History

The score was not published until 1867, 40 years after the composer's death. The discoverer of the piece, Ludwig Nohl, affirmed that the original autographed manuscript was dated 27 April 1810.[4] This manuscript has been lost.

The version of 'Fur Elise' we hear today is in fact an earlier version that was transcribed by Ludwig Nohl. There is in fact a later version, with drastic changes to accompaniment - which was transcribed from a later manuscript by Barry Cooper. The most notable difference is in the first theme, the left-hand arpeggio's are delayed by a 16th note beat. There are a few extra bars in the transitional section into the B section; and finally - the rising A minor arpeggio figure is moved later into the piece. The tempo marking 'Poco Moto' is believed to have been on the manuscript that Ludwig Nohl transcribed (now lost). The later version includes the marking 'Molto Grazioso'. It's believed that Beethoven intended on adding the piece to a cycle of Bagatelles.[citation needed]

The pianist and musicologist Luca Chiantore argued in his doctoral thesis and his recent book "Beethoven al piano" that Beethoven might not have been the person who gave the piece the form that we know today. Chiantore suggested that the original signed manuscript, upon which Ludwig Nohl claimed to base his transcription, may never have existed.[5] On the other hand, the musicologist Barry Cooper stated, in a 1984 essay in the Musical Times, that one of two surviving sketches closely resembles the published version.[6]

Identity of "Elise"

Therese Malfatti, widely believed to be the dedicatee of "Für Elise"

It is not certain who "Elise" was. Max Unger suggested that Ludwig Nohl may have transcribed the title incorrectly and the original work may have been named "Für Therese",[7] a reference to Therese Malfatti von Rohrenbach zu Dezza (1792–1851). She was a friend and student of Beethoven's to whom he proposed in 1810, though she turned him down to marry the Austrian nobleman and state official Wilhelm von Droßdik in 1816.[8] According to a recent study by Klaus Martin Kopitz, there is flimsy evidence that the piece was written for the German soprano singer Elisabeth Röckel (1793–1883), later the wife of Johann Nepomuk Hummel. "Elise", as she was called by a parish priest (she called herself "Betty" too), had been a friend of Beethoven's since 1808.[9] In the meantime the Austrian musicologist Michael Lorenz[10] has shown that Rudolf Schachner, who in 1851 inherited Therese von Droßdik's musical scores, was the illegitimate son of Babette Bredl (who in 1865 let Nohl copy the autograph in her possession). Thus the autograph must have come to Babette Bredl from Therese von Droßdik's estate and Kopitz's hypothesis is refuted.

Music

Bagatelle in A minor ("Für Elise")
"Für Elise" played on a piano.
"Para Elisa" performed by Daniel Bautista
The A section from "Für Elise" played on a guitar.
Problems playing these files? See media help.
Piano performanceⓘ (MIDI rendition)

The piece is in A minor and is set in 3/8 time. It begins with an A minor theme marked 'Poco moto' (with movement), with the left hand playing arpeggios alternating between A minor and E major. It then moves into a brief section based around C major and G major, before returning to the original theme. It then enters a lighter section in the subdominant key, F major. It consists of a similar texture to the A section,where the right hand plays a melody over left hand arpeggios. It then enters a 32nd note C major figure before returning to the A section. The piece then moves to an agitated theme in D minor with an A pedal point, as the right hand plays diminished chords. This section then concludes with an ascending A minor arpeggio before beginning a chromatic descent over two octaves, and then returning to the A section. The piece ends in its starting key of A minor with an authentic cadence. Despite being called a bagatelle, the piece is in rondo form. The structure is A - B - A - C -A. The first theme is not technically difficult and is often taught alone as it provides a good basic exercise for piano pedalling technique. However, much greater technique is required for the B section as well as the rapid rising A minor figure in the C section.

The letters that spell Elise can be decoded as the first three notes of the piece. Because an E♭ is called an Es in German and is pronounced as "S", that makes E-(L)-(I)-S-E: E-(L)-(I)-E♭-E, which by enharmonic equivalents sounds the same as E-(L)-(I)-D♯-E. Furthermore, since "Dis" is the pronunciation of D♯, if the first several notes of the composition are sung with note names, it becomes E-Dis-E-Dis-E (...), creating a word that, as a mondegreen, sounds significantly similar to the name "Elise" (the "L" sound and "D" sound are alveolar consonants). The same notion however is also valid for the name "Therese".[original research?]

References

  1. ^ William Kinderman, The Cambridge companion to Beethoven, Cambridge: Cambridge University Press, 2000, p. 125–126, ISBN 9780521589345
  2. ^ Dorothy de Val, The Cambridge companion to the piano, Cambridge: Cambridge University Press, 1998, p. 131, ISBN 9780521479868, "Beethoven is here [in the 1892 Repertory of select pianoforte works] only by virtue of 'Für Elise', but there is a better representation of later composers such as Schubert ... , Chopin ... , Schumann ... and some Liszt."
  3. ^ Morton Manus, Alfred's Basic Adult All-In-One Piano Course, Book 3, New York: Alfred publishing, p. 132, ISBN 9780739000687
  4. ^ Fuld, James J. (2000-03-20). The book of world-famous music: classical, popular, and folk. Courier Dover Publications. p. 241. ISBN 9780486414751. Retrieved 25 April 2011.
  5. ^ Luca Chiantore: Beethoven al piano. Barcelona: Nortesur, 2010, p. 333-360, ISBN 9788493735760
  6. ^ "Who Wrote "Für Elise"?". The New Yorker. 2009-10-16.
  7. ^ Max Unger, translated by Theodore Baker, "Beethoven and Therese von Malfatti," The Musical Quarterly 11, no. 1 (1925): 63–72.
  8. ^ Michael Lorenz: "Baronin Droßdik und die verschneyten Nachtigallen. Biographische Anmerkungen zu einem Schubert-Dokument", Schubert durch die Brille 26, (Tutzing: Schneider, 2001), pp. 47–88.
  9. ^ Klaus Martin Kopitz: Beethoven, Elisabeth Röckel und das Albumblatt „Für Elise“, Köln: Dohr, 2010, ISBN 9783936655872.
  10. ^ Michael Lorenz: "'Die enttarnte Elise'. Die kurze Karriere der Elisabeth Röckel als Beethovens 'Elise'", Bonner Beethoven-Studien vol. 9, (Bonn 2011), 169-90.
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