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Beethoven wrote his earliest piano concerto, the Piano Concerto in E-Flat Major WoO 4, in 1784-85. The surviving manuscript copy contains the solo part complete and a piano reduction of all orchestral passages (Tutti) whenever the soloist is not playing. That manuscript also includes Beethoven's cues for an instrumentation consisting of strings, horns and flutes. Eminent Beethoven scholar Willy Hess completed his own reconstruction of the concerto in 1943. His version has been recorded three times, but only one is currently available on the Philips label (442580-2). The newest reconstruction of the concerto, created by Professor Jon Ceander Mitchell in 2003, is presented in this study in the form of a piano reduction (as a two-piano critical edition). This present edition, edited by Dr. Mitchell and the author of this essay, retains Beethoven's instrumentation and restores the endings of the second and third movements (which were changed by Willy Hess). This study also includes a piano cadenza for the first movement, which is a free composition by the author. It also discusses both available restorations of this work and some of the concerto's interpretative issues.

The concept of “creating tone” indicates the relationship that Beethoven wanted with his main instrument, the fortepiano, and symbolizes his desire for expression when performing on the instrument. The story of Beethoven’s evolving pianistic writing unfolds in tandem with his changing instrument preferences; there is a constant feedback loop between innovations in piano construction and his piano music. This study investigates how Beethoven “created” his own tone when faced with the new Erard and Streicher instrument models in the first decade of the nineteenth century. The first chapter outlines the context of Beethoven’s involvement with contemporary instruments up to the early nineteenth century. His progressive tendencies in relation to the Stein vs. Walter actions and his interest in the English school of playing demonstrate this perspective. His eventual purchase of an Erard instrument in 1803 is an example of his desire to be on the forefront of instrument building developments in his time. The influence of Beethoven’s Erard piano on his pianistic output is assessed in chapter two by examining several compositions written during this period that reflect characteristics of French pianism and instrument building. Many of Beethoven’s pianistic innovations can be understood in the context of this new model. Pianistic devices include the use of register as a compositional dimension; vocal melodic style; textural innovations to enhance the Harmonie of the instrument, such as the tremolo effect; and the use of multiple, colourful pedals. The link between Beethoven and the instruments of the Streicher firm is the subject of the third chapter. The resultant merging of Viennese, English, and French features in piano construction led to the creation of an instrument that was reported as fully “orchestral” in sonority. Pianistic devices of this period include the return to a rapid “Viennese” touch; sustained lyricism; and, in concerto writing, scoring for the piano as an equal to the orchestra. Many of the musical elements that we embrace as characteristically Beethovenian may have their origin in these organologically-inspired pianistic effects.

Tübingen, Univ., Diss., 2008.

Thesis (D. Mus. Arts)--University of Washington, 1997. / Vita. Includes bibliographical references (leaves [360]-363).

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: J. Marion Magill. Includes bibliographical references.

Thesis (D. Mus. Arts)--University of Washington, 2004. / Vita. Includes bibliographical references (leaves 120-122).

Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (D.M.A.)--Ohio State University, 1980. / Includes bibliographical references (leaves 121-123). Available online via OhioLINK's ETD Center.