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In his 1840 biography of Beethoven, Schindler named Julie ("Giulietta") Guicciardi as the "Immortal Beloved". [14] [g] But research by Tellenbach (1983) indicated that her cousin Franz von Brunsvik may have suggested Giulietta to Schindler, to distract any suspicion away from his sister Josephine Brunsvik, with whom Beethoven had been hopelessly in love from 1799 to ca. 1809/1810. [15]
The music was published as part of Nohl's Neue Briefe Beethovens (New letters by Beethoven) on pages 28 to 33, printed in Stuttgart by Johann Friedrich Cotta. [5] The version of "Für Elise" heard today is an earlier version that was transcribed by Ludwig Nohl.
Josephine Brunszvik, miniature drawn by pencil, before 1804. Josephine Brunsvik or Countess Jozefina Brunszvik de Korompa, Countess Josephine Deym, (Hungarian: Brunszvik Jozefina; 28 March 1779 – 31 March 1821) was probably the most important woman in the life of Ludwig van Beethoven, as documented by at least 15 love letters he wrote her where he called her his "only beloved", being ...
Title page of Beethoven's symphonies from the Gesamtausgabe. The list of compositions of Ludwig van Beethoven consists of 722 works [1] written over forty-five years, from his earliest work in 1782 (variations for piano on a march by Ernst Christoph Dressler) when he was only eleven years old and still in Bonn, until his last work just before his death in Vienna in 1827.
Most of Beethoven's best known works were published with opus numbers, with which they may be reliably identified.Another 228 works are designated WoO (Werke ohne Opuszahl – literally, "works without opus number"), among them unpublished early and occasional works (Cantata on the Death of Emperor Joseph II, WoO 87), published variations and folksong arrangements (25 Irish Songs, WoO 152 ...
Beethoven's Piano Sonata No. 30 sketch. Beethoven's sketches give scholars an insight into his compositional process. [7] The sketches do not dictate how audiences should interpret or experience the piece. However, they do reveal information about Beethoven himself and act more as a bibliographic aid rather than an analytical tool. [7]