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(^. Sc^inmen. , *?ftc. 7U«^'^M

^ceillK^f^^

MASTER SERIESE R THE V II i\ G

Compositions for Piano in their Original Versions

Selected and Edited by

• BACH • BEETHOVEN • SCHUMANN

• SCHUBERT • CHOPIN

• WEBER • GRIEG

• MENDELSSOHN • TCHAIKOVSKY

Each $1.25{lttU.S.A.)

Ed. 11 1 2

LUDWIG VAN BEETHOVENNo composer left a clearer

and more connected story of

his life, than that which Beet-

hoven wrote into his music.

These works, stretching over a

period of forty years, tell the

growth of his marvelous geniusfrom auspicious beginnings,

through glorious struggles, to

tragic grandeur. When he

could no longer hear the soundsaround him, he listened to avoice within; shut ofif from in-

tercourse with humanity, he held commun-ion with the stars. And then came into

being the Ninth Symphony, the Missa

soleninis, and the last string-quartets.From the titles of some of Beethoven's

compositions, from the dedications of others,and from the contents of nearly all of them,one may read the course of his life, and re-

trace an epoch in the world's history. Be-

tween that solemn mass, written for his

friend and protector. Archduke Rudolf—whose most illustrious title is not Prince

of the House of Austria-Lorraine, nor Arch-

bishop of Olmiitz, nor Cardinal of the

Roman Curia, but the "Piano-pupil of

Beethoven"—between that triumphant ex-

pression of religious faith and a little

"conciliatory" canon for Maelzel—the in-

ventor of the metronome, whose futile

efforts to perfect an ear-trumpet hadirritated the poor sufferer—what wealth,what variety of "human documents!" Cries

of passion, that call to the perfect mate;

hymns to nature, which sing his love for

wood and field; professions of ardent pa-

triotism, evoked by the turn of political

events: these are the three main themesthat run through all of Beethoven's music,until at last they seem to be fused into one,

that of sublime resignation. From a senti-

mental ballad, Adelaide, of 1796, instantlyacclaimed and published in numberless

transcriptions, to the Eroica symphony,first "privately" performed in 1804; fromthe opera Fidelio, coolly received in 1805,

to the quartets of 1826, decried as the

deed of a lunatic: what stupendous strides,

and also what illuminating side-lights on

contemporary appreciation! And yet all

Vienna followed his hearse, and all the world

knew that it had lost a Titan,when he died on March 26, 1827.

As certain towns of Italy,

during the Middle Ages, at-

tracted painters from far andnear, to work there under the

protection afforded them bysome art-loving dignitary of therealm or church, so was Viennafor a long time the goal of musi-

cians, thanks to the enlighten-ment and munificence of the

Austrian court and aristocracy.No one benefited more thereby than didBeethoven. Although born at Bonn, onthe Rhine (December 16, 1770), youngLudwig had found early in his father's

employer. Prince-bishop Max Franz, Electorof Cologne, a member of the Hapsburgfamily who acted as his benevolent patron.It was due to the connections between

Cologne and Vienna that Ludwig, in his

seventeenth year, was sent to the Austrian

capital to win his spurs as a piano virtuoso.

He was a brilliant player, a boy of strikingexterior and strange shyness in his manner.Between a doting mother and a dissipated

father, the formation of his character hadbeen neglected, but his musical educationleft nothing to be desired. He had greatsuccess with his concerts and was graciouslyreceived by Viennese society; unfortunately^his mother's death soon called him back to

Bonn, where he remained, giving lessons and

pursuing his own studies, until in 1792

Haydn, passing through Bonn on his return

from England, heard Beethoven and offered

to accept him as pupil if he settled in

Vienna. This invitation was too good to gounheeded. Beethoven's friend. Count Wald-stein—and the story of Beethoven's life

is largely a story of Beethoven's friends—saw to it that nothing interfered with the

realization of this plan. And so Beethovenwent to Vienna. He studied with Haydn,with the contrapuntist Albrechtsberger, andwith the Italian Salieri. His zeal and ear-

nestness enabled him in those years to laythe foundation for all of his future work.At first frankly imitative, following his

teacher Haydn as an unparallelled examplefor the purely constructive side of music,

using the sonatas of K. Ph. Em. Bach as

2S933 liii]

IV Ludwig van Beethoven— Continued

models of pianistic style, he leaned towardthe virtuoso and conventional side of a

school that had almost outlived itself.

FVom Haydn he learned the treatmentand development of themes, the use of

orchestral colors. The first piano sonatas,trios and quartets, a septet and the twofirst symphonies, with other works of lesser

distinction, belong to this period.With the year 1801 a decided change

becomes noticeable. Beethoven has begunto find himself. Growing deafness, the

first signs of which date back to 1796, his

various sentimental quests, too often end-

ing in deception, are bringing their in-

fluence to bear on his state of mind. Thecare of needy relatives adds to his burdens;and when Napoleon's brother Jerome, Kingof Westphalia, offers him a well-paid

position, he is tempted to accept it and goto Cassel. But three of his friends—Arch-duke Rudolf, Prince Lobkowitz and CountKinsky—agree to pay him a pension for

life in order to attach the first musicianof Europe permanently to Vienna. ForBeethoven has become an international

figure, his fame has spread. Feted at court

and by the nobility, treated with princelylavishness by his friend Lichnowsky, heleads the expensive life of a fashionable

and idolized artist. His summers are spentin the country; his health demands a

trip to the baths of Teplitz, in Bohemia.Here the Hof-Compositeur van Beethovenmeets the "old and incredibly distinguished"Geheinirat von Goethe, for whose drama"Egmont" he has written such stirringmusic. However, conversation with the deafmusician is made possible only through the

aid of note-books that he carries with him

everywhere, and into which his interlocu-

tors must write their part of the dialogue.

Compassion actuates many a woman'stender heart to show him the utmostkindness and affection. But none of themcan or will accept the honor of becominghis wife. The year 1814 sees all the states-

men of Europe assembled '.•\ Vienna, to

sit in high conclave and decide the fate of

nations. Archduke Rudolf, in person, in-

troduces his beloNed master to the crownedvisitors who bow before him whom Apollohad crowned. Without a work of Beethoven,no program of importance seems complete.And yet he feels "more lonesome than ever

in this big city." For, after all, it is not

the music written with his heart's-blood

that the populace is whistling, that pub-lishers are clamoring for, but some of his

incidental music to second-rate plays,

military marches, "Wellington's Victorj^ at

Vittoria," that symphonic poem for whichthe composer himself "would not give two-

pence!" But the loneliness, the grief anddisillusion are to bring only riper fruit.

From 1815 to his death, Beethovendid not write nearly as much as he com-

posed in his second, or transitory stage;but what he created was the result of deeperreflection, of purer and more personal

inspiration. His ideals of friendship andhis religious devotion finally rise frombeneath the sea of conflicting emotions.

They form the rocks upon which are built

his two greatest works: the Symphony withchorus and the Mass in D. It was given to

Beethoven, in spite of so many afflictions,

cares and disillusionments, to carry his

creative task to a pinnacle which over-

towered everything that had gone before.

What he accomplished seems the work of

a giant, intended for eternity. It is im-

possible to encompass that work withinthe frame of a thumbnail sketch. Manybiographies of Beethoven may be con-

sulted; but the stoutest books are not

always the best. To the student, desirous

of gaining a better insight into Beethoven'slife and work, nothing could be recom-mended more highly than the slender

volume by Vincent d'Indy, in Dr. Theo.Baker's admirable translation. With rare

felicity and critical understanding, with love

and veneration, the author has drawn a

picture truly lifelike.

C. E.

28933

MASTER SERIES FOR THE YOUNGIn presenting this unique seriesj issued especially to meet the need of the

young pianist for material from the master composers for the instrument, a work

is put before the public which, it is hoped, will fill a long-felt want.

Each volume contains a collection of the technically easiest compositions

of the master represented, arranged progressively with regard to difficulty, and

edited and fingered from a thoroughly modern standpoint. The numbers included

were all penned especially for the instrument by their composers, so that the edition

contains none of the tasteless arrangements from operas, symphonies, string quar-

tets, and so forth, which have disfigured many publications of like nature in the

past.

Naturally, the volumes do not all represent one particular "grade" of dif-

ficulty. Chopin and Grieg, for example, wrote no specific "children's pieces,"

as Schumann and Tchaikovsky did, and Mendelssohn's "Pieces for Children"

require a technical development much more advanced than that demanded by the

simpler compositions of Bach, Handel and Mozart. Each volume may be looked

upon as an introduction to the study of the individual style and characteristic

manner of the composer in question.

The use of excerpts from larger compositions has been necessary in a few

instances, on account of the lack of sufficient appropriate material among the

composer's works. In the case of some of the older compositions, undue prolixity

has been avoided by a judicious paring of the numbers.

Attention is called to the completeness and accuracy of the modern pedal

markings, the observance of which will result in the development of the student's

taste and ear in the direction of correct pedalling. The use of the antiquated and

inexact "Ped. *" has been done away with entirely. Where pedal marks are

absent, as in the case of the Bach and Handel numbers, which were written for

instruments not equipped with the damper pedal, the use of the latter is to be

avoided.EDWIN HUGHES

2S9W-30-1-2 3-«-5.«-7-8-9-«)

My-S^t'l ^H-^

ALPHABETICAL INDEXPAGE

Albumleaf "For Elise" 25

Andante from the Sonata, Op. 79 23

Bagatelle, Op. 3i, No. 6 16

Bagatelle, Op. 119, No. 1 10

Bagatelle, Op. 119, No. 3 8

Bagatelle, Op. 119, No. 5 18

Bagatelle, Op. 119, No. 9 3

Bagatelle, Op. 119, No. 11 5

Minuet from the Sonata, Op. 49, No. 2 12

Minuet in £> 6

Minuet in G 4

Six Easy Varlations on a Swiss Song 20

Theme with Variations from the Sonata, Op. 14, No, 2 28

Theme in G 3

Two Country Dances 2

189IJ

Master Series for the Young

LUDWIG VAN BEETHOVEN

2

Selected and editea byEdwin Hughes

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Edited and fingered bySIGMUND LEBERT

Six Easy Variationson a

Swiss Song- •)

Andaiite con moto (J=iao)

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Tema

) We call special attention to these thoroughly de-

lightful Variations because tht-j- are far too little knowTi

and appreciated. They will be particularly welcome to

yiiiniir pianists.

(a) By a comma we mark those points at which the

player ought, by lifting his hands a little earlier than

the note-value indicates, to bring out a rhythmical di-

vision.

(b) Proceed without interrupting the rhythiiijand sim-

ilarly after Variations 1 and 3.

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Sc H I RMER'S Libraryof Musical Classics

PIANO SOLO COLLECTIONSSERIES ONE

ALBUM OF 25 PROGRESSIVE PIANO CLASSICSlb 1814 Selections by Bach, Beethoven, Chopin,

Dussek, Handel, Haydn, Hummel, Kuh-lau, Mendelssohn, Mozart, Schubert,Schumann, and Weber.

ALBUM OF 25 PIANO CLASSICSL.1315 Selections by Bach, Beethoven, Chopin,

Field, Handel, Haydn, Mendelssohn,Scarlatti-Tausig, Schubert, and Schu-mann.

ANTHOLOGY OF 32 MODERN CLASSICSL. 1264 Selections by Brahms, Dvorak, Grieg.

Henselt, Jensen, Liszt, Moszkowski,Paderewski, Rath, Rubinstein, Saint-

Saens, Schiitte, Schytte, Sgambati,Sinding, and Tschaikowsky.

ANTHOLOGY OF 28 PIANO CLASSICSL. 1263 Selections by Bach, Beethoven, Chopin,

Field, Handel, Haydn, Mendelssohn,Mozart, Schubert, Schumann, andWeber.

Album. 21 Favorite Pieces (Heinze).

Chaconne, Dm (trs. by Busoni).

Chromatic Fantasy and Fugue; Concertoin the Italian Style; Fantasy, Cm;Prelude and Fugue, Am.

Concerto, Dm. 2-Piano Score (Hughes).

English Suites (Czerny), Bk. I; L. 18,

Bk. II.

Fantasie and Fugue, Gm (Liszt-

Hughes).First Lessons in Bach (Carroll), Bk. I;

L.1437. Bk. n.

French Suites.

Two-Part Inventions (Busoni).The Same (Czerny), L. 850.

The Same (Mason), L. 379.

Three-Part Inventions (Busoni).The Same (Czerny), L. 851.

The Same (Mason), L. 380.

Two- and Three-Part Inventions

(Busoni).The Same (Mason), L. 16.

The Same (Czerny), L. 813.

The Same (Bischoff), L. 1771.

L.424 18 Little Preludes and Fugues(Buonamici).

L. 1087 8 Organ Chorale Preludes (trs. byHenderson).

L.20 Partitas (Czerny), Bk. I; L.21. Bk. IL

L. 1475 Prelude and Fugue, Am (Liszt-Hughes).

L. 15 Short Preludes and Fugues (Mason).L. 1628 Toccata, C (trs. by Busoni).

L. 1629 Toccata and Fugue, Dm (trs. by Busoni).

Ik 1787 Toccata and Fugue, Dm (Dorian) (trs.

by Prostakoff).

L.1528 Toccatas (Hughes).L.1759 The Well-Tempered Clavier (Bischoff),

Bk. I.

The Same. L. 1760, Bk. II.

BACH, J. S