Although the two sonatas for cello and piano Op 5 by Beethoven were written in 1796, they could be considered the beginning of the cello literature of the 19th century. They were not only the first instrumental duo sonatas by Beethoven, but also the first works of this genre for such combination. Before Beethoven Op 5 the cello repertoire consisted mainly of Continuo Sonatas,pieces which lacked a written accompanying part, and had no instrumental specification for it.

The instrumental Duo Sonata, contrary to the view of many authors, was a development of a relatively less important genre called the Keyboard accompanied Sonata Sonata (sometimes known as the Sonata Obbligato). This form was also an ancestor genre of the Piano Trio and subsequently of the Piano Quartets and Quintets. In essence these pieces were written for a keyboard instrument, but had ad limitum parts for violin and/or cello, adding a more colorful texture in a chamber performance if the instrumentalists were available at a particular time. At the end of the 18th century both genres coexisted: the Sonata Continuo, with a figured bass, and the the Sonata Keyboard accompaniedSonata, with a written keyboard part. The composition of Sonatas Continuo of Continuo Sonatas disappeared after 1800, giving way to the more developed partnership of the Duo Sonata. The two Sonatas Op. 5 by Beethoven were published with the title “ For harpsichord or pianoforte with violoncello obbligato”, showing its link with the the Sonata Sonata obbligato..

Towards the end of the 18th century the violin repertoire was already quite large, including Sonatas by Mozart and a considerable amount of Sonatas ContinuoContinuo Sonatas. This was not the case in the cello repertoire, which had virtually no samples of Duo Sonata, and not as many Continuo Sonatas. Sonatas ContinuoThe fact that it is Beethoven who starts to write Duo Sonatas for cello and piano provides evidence that up to then the technical level of cello playing was not as high as that of the violin. The great virtuoso Luigi Boccherini (1743-1805) was a kind of secondary figure who did not get the proper attention because of his long residency in Spain, a country that contributed very little to the development of music in the 18th and 19th century. Beethoven, an innovator by nature, rather than following an inevitable development of the instrumental sonata genre, used the duo cello-piano more as an experiment of a very special musical thought. While the conception of his Violin Sonatas and string quartets tend to follow a more traditional form, the cello sonatas are always very experimental in structure. He kept up this experimentation all the way to the late sonatas Op. 102, which he himself referred as “Free Sonatas”. Even as late as 1818, when the Sonatas Op. 102 were published, one critic considered this combination an eccentricity.

Another important factor regarding the composition of the Op. 5 Sonatas was Beethoven’s acquaintance with Friedrich Wilhelm II, King of Prussia and a generous patron of the arts. During the eleven years of his reign (1786-97), Friedrich Wilhelm II helped the Fine Arts to blossom at the Postdam Palace in Berlin as a cultural consequence of Prussia’s political expansion. Brought up in a very musical environment (his uncle and antecessor Frederick The Great, was a respected flutist and composer) Friedrich Wilhelm II took up the cello, after the Viola da Gamba in 1762, studying under the Italian Master Carlo Graziani. At the end of the war King Frederick encouraged his nephew to form his own court orchestra in Postdam, an ensemble that numbered over 318 musicians. Even during the most difficult times and wars, Friedrich Wilhelm II devoted at least two hours a day to chamber music, often travelling with a couple of violinists and a violist to play string quartets in the headquarters during political campaigns. This passion for cello playing and chamber music drew the attention of the most renowned composers of the time, who then started to visit the Palace at Postdam, and to write chamber works with special interest on elaborated and virtuoso cello parts. In 1785 the Luigi Boccherini was appointed chamber composer, producing a number of works dedicated to the monarch, among them his String Quintets with two cellos.[1]. En 1787, cuando Friedrich Wilhelm II había apenas comenzado su reinado, Joseph Haydn publicó sus cuartetos de cuerda Op. 50 dedicados al monarca. Dos años después, Mozart le ofreció una serie de doce cuartetos, de los cuales sólo tres fueron terminados y que hoy en día se conocen como los Cuartetos “Prusianos”. Si se quisiera juzgar el nivel técnico del rey se debería observar con atención estos cuartetos, cuyas partes de cello no sólo son melódicamente abundantes, sino además extremadamente difíciles de tocar, aún en niveles profesionales. El uso de una línea melódica más independiente en el cello desembocó en un estilo de escritura de cuartetos más concertante, que tuvo una profunda influencia en posteriores avances de la música de cámara.

In 1787, when Friedrich Wilhelm II had just begun his reign, Joseph Haydn published his set of Op 50 string quartets with a dedication to the monarch. Two years later, Mozart offered him a set of twelve string quartets, of which only three were finished and are known today as the “Prussian” quartets. If one is to judge the technical instrumental level of the monarch one should look at this “Prussian Quartets”, whose cello parts are not only melodically abundant, but also extremely difficult to perform, even at professional levels. The use of a more melodically independent cello line lead to a more concertante style of quartet writing, which had a profound influence on later developments in chamber music. In 1795 Beethoven made his Viennese debut as a pianist, and it was so successful that a year later he was invited to give concerts in Prague, Nuremberg, Dresden and Berlin. During his stay in Berlin Beethoven met King Friedrich Wilhelm II, who admired the composer as pianist, composer and improviser, and the French cellist Jean Pierre Duport, who was the King’s first cellist, teacher and Superintendent at the Royal Chamber music.

Jean Pierre Duport (known as the Duport the elder or l’ainé, to differentiate him from his younger brother Jean Luis) was employed by King Frederick the Great in 1773. At the time Duport had already a very successful career as a cellist in France, England and Spain. He was the most gifted student of the celebrated cello pedagogue Martin Berteau, making a successful debut in 1761 at the celebrated Concert Spirituel in Paris. Duport frequent tours allowed him to get aquatinted with some important musical personalities of the time, like Johan Christin Bach, Karl Friedrich Abel (the virtuoso gamba player), and, probably the most important of all, the celebrated cellist Franciscello, who agreed to listened to the younger cellist in 1771. The interaction of Duport and Franciscello mark an important moment in the history of cello playing, when the old Italian school meets the younger French instrumentalists, making Duport a link between the two. His playing was highly complemented by most contemporary critics and instrumentalists. In 1762 a reviewer of the

in Paris. Duport frequent tours allowed him to get aquatinted with some important musical personalities of the time, like Johan Christin Bach, Karl Friedrich Abel (the virtuoso gamba player), and, probably the most important of all, the celebrated cellist Franciscello, who agreed to listened to the younger cellist in 1771. The interaction of Duport and Franciscello mark an important moment in the history of cello playing, when the old Italian school meets the younger French instrumentalists, making Duport a link between the two. His playing was highly complemented by most contemporary critics and instrumentalists. In 1762 a reviewer of the Mercure de France wrote:

In his hands the instrument is no longer recognizable; it speaks, expresses and renders everything with even more charm than thought to be exclusive to the violin. The vigor of his playing is combined with the most exact precision in the execution of passages of which the difficulty can be appreciated only by those who know the instrument. It appears to be greatly unanimously that this young man is the most singular phenomenon to have graced our salons.[2]

Él era además un hábil compositor cuyos trabajos, principalmente para cello, fueron tan populares en aquel momento que Mozart usó un tema de uno de los minuets de Duport para sus Variaciones para Piano K. 575.

Del mismo modo que sus antecesores habían hecho, Beethoven presentó ante el Rey las dos Sonatas Op. 5. Fueron compuestas durante su estadía en Berlín y fueron el obvio resultado de la interacción entre el compositor, el monarca y el gran virtuoso del cello. Antes de ofrecer su primera presentación, Beethoven ensayó las piezas con Duport para familiarizarse con su extraordinaria técnica cellística y con el poderoso potencial del cello como instrumento solista. En los borradores de Beethoven de ese tiempo se podían encontrar digitaciones de cello para escalas y dobles cuerdas escritas con la letra de otra persona, así como una anotación del propio Beethoven que decía “escribir mensaje a Duport”.[3] La muy idiomática escritura para el cello mostrada en estas dos sonatas revelas una innegable colaboración entre los dos maestros, quienes poco después estrenaron las piezas en presencia del Rey. En agradecimiento, Friedrich Wilhelm II recompensó a Beethoven con una ……………………………………….., lo que impulsó a Beethoven a dedicar estas piezas al Rey cuando fueron publicadas por Artaria en febrero de 1797 en Viena.

Soon after the premiere of Op. 5 Beethoven performed the two Sonatas in Vienna with the German cellists Bernhard Romberg (1767-1841), a man who did a great deal for the development of the cello technique in the 19th century.

In spite of their mutual respect, Romberg was a travelling cello virtuoso who paid little attention to the great master’s music. It is known that he objected strongly to playing Beethoven’s Op. 18 string quartets, on the grounds that they were “such absurd stuff”[4]” . A few years later during a rehearsal of the Op 59 “Razumovski” quartets, Romberg made clear his dislike of the music by throwing the cello part on the floor and describing the piece as an “infamous hoax”[5]” . Despite Romberg’s behaviour Beethoven thought very highly of him as a cellist[6],

, to the point of wanting to write a Concerto for him, an offer which was rejected by the cellist because of his obsession to play only his own music. This unforgivable act of arrogance on Romberg’s behalf has deprived the cello literature of possibly one of the greatest works ever written for the instrument.

If Beethoven’s wishes to write a Concerto for cello were not fulfilled, this restlessness was, in 1804, directed towards the composition of another symphonic work in which the cello, although not the only soloist, takes a predominant melodic role: The Triple Concerto Op. 56. This rather unusual piece (the first and only experiment ever with this combination) was intended to be a gesture of friendship and respect for Beethoven’s sixteen year old student Rudolph of Hapsburg, Archduke of Austria. A piano concerto in the way Beethoven had conceived his previous two experiments on the form, was completely out of the question since the Archduke had not yet achieved a high technical level on the piano. By introducing two more soloists Beethoven took away the heavy technical demands on the piano part which then became more suited to the level of his student, assuring in this way a successful artistic outcome, and in a longer run the possibility of future patronage. However, this solution was in no way an easy task, since it presented an imminent problem of balance: the cello in its middle and low register would have been covered by the orchestra. Beethoven handled the problem by writing the cello part up in its high register, allowing more use of the A string, and giving it a predominant melodic role in the composition. It was just as well that Beethoven had met one of the finest cellists of that time, Anton Kraft, an extraordinary instrumentalist whose playing influenced strongly the music of Haydn and Mozart.

Anton Kraft (1751-1820) entered the orchestra of Prince Esterhazy in 1779, when Haydn was court composer. During his years in Esterhaza, Kraft became a composition student of Haydn, who developed a great esteem for the Bohemian cellist, calling him “My son” .[7]An inevitable collaboration between the composer and the cellist resulted in the composition of Haydn’s D major Cello Concerto, a work that for many years was attributed to Kraft.[8] This collaboration is very obvious in the work, especially if we look at the technically difficult passages where the use of thumb position and harmonics are a feature that was not much employed by non cellist-composers at the time. During this time Kraft took part in the first performances of Haydn Symphonies and chamber music as well as other works by Mozart. After the death of Prince Esterhazy in 1790 Kraft moved to Vienna and worked for the Prince Grassalkowitz, a flexible post that allowed him to tour, compose and participate in other performances apart from the palace. In 1793 Kraft was engaged by Prince Lichnowsky for his regular Friday morning chamber series, a special event in which some of Beethoven’s Op. 1 Piano Trios were first performed, and which lead to the creation of the first established resident string quartet in the history of western music. This quartet, in which Kraft was joined by the violinists Schuppanzigh and Sina and the violist Weiss, was to play under the patronage of Lichnowski and later Count Razumovski, and gave first performances of Beethoven’s Op. 18 and Op.59 String Quartets, as well as pieces by Haydn and Mozart. It was then that Beethoven got aquatinted with Kraft, whom he referred to as “a poet who speaks marvelously well with his cello.”[9]  To distinguished him from his son Nicolaus (1778-1835), Anton Kraft was usually called “The elder”, a nickname that Beethoven affectionately changed to “die alte Kraft” (the old power). Beethoven often insisted that the cello parts of his chamber works were assigned to Kraft, and at the moment of writing the Triple Concerto the composer had him in mind to perform the highly difficult task. Although not evidence has been found to corroborate a true collaboration, the highly elaborated cello writing of the Concerto speaks for itself, a part that even by today’s standard of playing remains one of the most demanding combinations of musical and technical ability.

When it was premiered in 1808 the Triple Concerto Op. 56 was not very well received by the critics, and even until recently was considered a minor work in Beethoven’s output.[10] The Concerto was not played again until 1830, three years after Beethoven’s death, and although it was better received, it has been the outcome of the recording industry which has given justice to this wonderful piece. The Triple Concerto Op. 56 was published in Leipzig in 1806, with a dedication to Prince Franz Joseph Lobkowitz.

After working with cellists of the stature of Duport, Romberg and Kraft, Beethoven was ready to embark into the composition of another cello work, the Sonata Op 69, a work that has been his most popular production in this genre. This is probably the most technically demanding of the five cello sonatas but, paradoxically, it was written for a amateur, although gifted cellist: Baron Ignaz von Gleichenstein (1778-1828). Gleichenstein handled Beethoven’s business affairs around 1807 and became the composer’s most important friend for many years.[11] In a gesture of gratitude Beethoven dedicated the A major Sonata Op. 69 to Gliechenstein in April 1809. It was however Nicolaus Kraft (Anton’s son) who first performed the work in March of the same year.[12] Of all the cello works, the Sonata Op. 69 was the only one dedicated to a cellist .[13]

It is important to mention that while the two Sonatas Op. 5 were published as“Deux Grandes Sonates pour le Clavecin ou Fortepiano avec un Violoncelle obligé”” the Sonata Op. 69 had as a title “Grande Sonata pour Pianoforte et Violoncelle”, a major difference that shows Beethoven’s evolution in his instrumental thought. This evolution is clearly seen in the music, where the instruments are presented as equal partners.

During the ten years that separated the composition of the sonatas Op. 5 and Op 69, Beethoven wrote three sets of variations for cello and piano, a genre that became very popular at the time and provided the composer with an opportunity to exhibit his technical and stylistic abilities framed in a highly organized form. The current trend was to write variations based on popular themes, and Beethoven’s are no exception. He used two melodies from Mozart’s Opera “The Magic Flute” and one for Handel’s Oratorio “Judas Maccabeus”. Although very little is known about the composition of these works, their relatively simple instrumental writing does not give any hint of any major collaboration with a cellist. It is said, however, that the set of Handel Variations, based on the aria “See the conquering hero comes”, was offered to the King Friedrich Wilhelm II, a great lover of Handel’s music, and a campaign hero.

Transcribing pieces from one medium or instrument to another became since Beethoven’s times a popular activity, directed towards artistic, or financial goals. In some cases these transcriptions were destined to be performed by major artists on an instrument different from which the composition had originally been conceived .[14] In other cases they were directed toward the general public, offering transcribed parts to any instrument, and providing in this way a more economical success. As well as the originally conceived cello works, there exists three more works which were transcribed for cello and piano during Beethoven’s time. The first of these compositions is the Horn Sonata Op. 17, which according to Markevith[15] was published in 1800 with an alternative cello part. In spite of the efforts of cellists like Pablo Casals, this piece has not really made it into the cello repertoire. The reasons could be associated with the part writing, which is so directed towards natural horn playing.

The other two works on this list of transcriptions are the Sonata Op. 64 and the Sonata Op. 47. The Sonata Op. 64 was published by Artaria in 1807 with the title Grande Sonata pour le Forte-piano avec accompagment de Violoncelle obligé, as is a transcription of the String Trio in Eb Op. 3. The Sonata was then republished in 1814 and 1855, the latter edited by Franz Liszt. As the original manuscript has not been found, it remains a mystery whether or not the transcription was made by Beethoven himself. The fact that it has a separate Opus number points towards the possibility that either Beethoven transcribed it, or he authorized the transcription. As the Trio Op. 3 is a large work, that did not enjoy much popularity at the time, it might be true to say that the transcription might have been intended for a player. Perhaps further investigation on 18th century cello developments will shed some light into this matter.

The Sonata Op. 47, originally for violin and piano and known as the “Kreutzer Sonata”, was arranged for cello and piano by Beethoven’s pupil Carl Czerni in 1823. Markevitch argues that this transcription was originally intended for Joseph Linke, with whom Czerni had played the Op. 69 and 102 Cello Sonatas of the Master[16]The modifications on the cello part were probably made in collaboration between Linke and Czerni. Whether or not Beethoven participated in this collaboration, or knew of this transcription is not known.

In 1815 the Palace of Count Razumovski suffered a blow that, among other things, led to the dissolution of the Razumovski Quartet[17]

The four unemployed musicians started to search for positions that would enable them to go on as independent performers. The German cellist Joseph Linke (1783-1837), who had replaced Anton Kraft in the quartet, spent that summer with the Erdody family at Jedlersee as music tutor of the Countess’s children. The Countess was a personal friend and patron of Beethoven, and had also invited the composer to spend the summer with them. The presence of this fine cellist led Beethoven to write what were the principal works of that year, and indeed, his last duo sonata compositions: the two Cello Sonatas Op. 102.

Joseph Linke started his musical career both on cello and violin. While working as a music copyist he was accepted by the Dominican Friars to pursue studies in organ, harmony and cello. He succeeded his cello teacher at the Berslaw Theatre as principal cellist, an orchestra that followed the directorship of Carl Maria von Weber from 1804 to 1806. After the French occupation of Breslaw in 1808, Linke moved to Vienna, where he joined the violinist Schuppanzigh in the string quartet that had been under the patronage of Count Razumovski. During these years Linke gained respect as a musician in the Vienna circles, whose critics praised the way he played chamber music:

“Linke treats his instrument as well as anyone in a quartet can ever manage it. He overcomes all difficulties, fits in so smoothly into the whole, and plays with so much feeling and expression, that one could not wish for him to give more”.

Michael Frey, Mannheim, 1815.[18]

Linke took part in the first performances of Beethoven’s Trios Op. 70 at the Erdody’s house (with Schuppanzigh and Beethoven himself), and Schubert Trios Op. 99 and 100. In later life he often appeared in solo recitals at the Viennese Academy and other important concert series, often performing pieces by Romberg. Linke was also a composer with a concerto, variations, polonaises, and other pieces based on popular opera tunes.

Beethoven had a high esteem for Linke, whom he used to call “Lieber linken und rechte”.

In a letter to Countess Erdody Beethoven shows his appreciation for Linke’s playing in a rather unusual way:

Let the violoncello apply himself; starting on the left bank of the Danube he is to play until everyone has crossed from the right bank of the Danube. In this way the population will soon be increased.[19]

In this rather metaphoric statement Beethoven is certainly referring to Linke, applying the same analogy of his name to links (German for left).

In spite of the close association between the two musicians, no real collaboration between them is to be found in respect to the writing of the Op. 102 Sonatas. These so-called “free Sonatas” were first performed in 1815 by Linke and the Countess Erdody, and were then published in 1816 and 1819 with a dedication to the Countess. The critic Michael Fry considered these two sonatas to be “so original, that with only one hearing it was impossible to understand”[20]

A point worth mentioning about the Op. 102 Sonatas is that they were the first published compositions in which both instrumental parts appeared in the piano score. This concept received a favorable review from the Musiklische Zeitung in 1819, and from then on it became the usual practice for instrumental compositions with piano.

During the ten years that separated the composition of the sonatas Op. 5 and Op 69, Beethoven wrote three sets of variations for cello and piano, a genre that became very popular at the time and provided the composer with an opportunity to exhibit his technical and stylistic abilities framed in a highly organized form. The current trend was to write variations based on popular themes, and Beethoven’s are no exception. He used two melodies from Mozart’s Opera “The Magic Flute” and one for Handel’s Oratorio “Judas Maccabeus”. Although very little is known about the composition of these works, their relatively simple instrumental writing does not give any hint of any major collaboration with a cellist. It is said, however, that the set of Handel Variations, based on the aria “See the conquering hero comes”, was offered to the King Friedrich Wilhelm II, a great lover of Handel’s music, and a campaign hero.

Transcribing pieces from one medium or instrument to another became since Beethoven’s times a popular activity, directed towards artistic, or financial goals. In some cases these transcriptions were destined to be performed by major artists on an instrument different from which the composition had originally been conceived .[21] In other cases they were directed toward the general public, offering transcribed parts to any instrument, and providing in this way a more economical success. As well as the originally conceived cello works, there exists three more works which were transcribed for cello and piano during Beethoven’s time. The first of these compositions is the Horn Sonata Op. 17, which according to Markevith[22] was published in 1800 with an alternative cello part. In spite of the efforts of cellists like Pablo Casals, this piece has not really made it into the cello repertoire. The reasons could be associated with the part writing, which is so directed towards natural horn playing.

The other two works on this list of transcriptions are the Sonata Op. 64 and the Sonata Op. 47. The Sonata Op. 64 was published by Artaria in 1807 with the title Grande Sonata pour le Forte-piano avec accompagment de Violoncelle obligé, as is a transcription of the String Trio in Eb Op. 3. The Sonata was then republished in 1814 and 1855, the latter edited by Franz Liszt. As the original manuscript has not been found, it remains a mystery whether or not the transcription was made by Beethoven himself. The fact that it has a separate Opus number points towards the possibility that either Beethoven transcribed it, or he authorized the transcription. As the Trio Op. 3 is a large work, that did not enjoy much popularity at the time, it might be true to say that the transcription might have been intended for a player. Perhaps further investigation on 18th century cello developments will shed some light into this matter.

The Sonata Op. 47, originally for violin and piano and known as the “Kreutzer Sonata”, was arranged for cello and piano by Beethoven’s pupil Carl Czerni in 1823. Markevitch argues that this transcription was originally intended for Joseph Linke, with whom Czerni had played the Op. 69 and 102 Cello Sonatas of the Master[23]The modifications on the cello part were probably made in collaboration between Linke and Czerni. Whether or not Beethoven participated in this collaboration, or knew of this transcription is not known.

[1] Muy probablemente la parte del segundo cello era interpretada por uno de los hermanos Duport, y no por el príncipe.

[2] Margareth Campbell: The Great Cellists. Trafalgar Square Publishing. North Pomfret, Vermont, 1989, pág. 37.

[3] Anner Bylsma: Music for the King of Prussia, Record sleeve from “The Cello and the King of Prussia”. Sony Classical, 1998.

[4] Margareth Campbell: The Great Cellists. Trafalgar Square Publishing. North Pomfret, Vermont, 1989, pág. 62.

[5] Dimitry Markevitch: Cello Story. Summy-Birchard Music, Princeton, New Jersey, 1984, pág. 85

[6]. Lev Ginsburg: History of the Violoncello.

[7] Dimitry Markevitch: Cello Story. Summy-Birchard Music, Princeton, New Jersey, 1984, pág. 80

[8] El problema de autenticidad del Concierto en Re Mayor de Haydn fue resuelto cuando el manuscrito original fue encontrado en la Biblioteca Nacional de Austria, justo después de la Segunda Guerra Mundial.

[9] Dimitry Markevitch: Cello Story. Summy-Birchard Music, Princeton, New Jersey, 1984, pág. 80

[10] La primera presentación fue ofrecida en 1805 en privado por el Archiduque, Sidler y Kraft. El primer concierto público fue en 1808, tocando Muller, Mattei y Dotzauer.

[11] La relación entre los dos hombres terminó en 1809 por motivos personales.

[12] Parece haber un desacuerdo sobre quien estrenó Op. 69. Markevitch y Campbell arguyen que fue Anton Kraft (y no Nicolaus) junto con Beethoven quien ofreció la primera presentación.

[13] Los cuartetos de cuerda Op. 127, 130 y 131 fueron dedicados al Conde Galitzin, quien fue un cellista pero eso fue un encargo asignado.

[14] El gran virtuoso de contrabajo Dragonetti tocó con Beethoven la sonata de cello Op. 5 no. 2 en 1799. Él también hizo arreglos de la Segunda Sinfonía y el Septeto para Trío de Piano.

[15] Dimitry Markevitch: A New Beethoven Cello and Piano Sonata. Strings Magazine. Sept/Oct 1990. Pág 25-7

[16] Dimitry Markevitch: Beethoven Sonata Rediscovered. Strings Magazine. May-Jun 1993

[17]El Cuarteto Razumovsky fue el primer cuarteto residente en la historia occidental de la música.

[18] Valerie Walden: One hundred years of Violoncello. Cambridge University Press. 1991. pág. 46

[19] Thayler’s Life of Beethoven. Pág. 621

[20] Valerie Walden: One hundred years of Violoncello. Cambridge University Press. 1997. pág. 46

[21] El gran virtuoso de contrabajo Dragonetti tocó con Beethoven la sonata de cello Op. 5 no. 2 en 1799. Él también hizo arreglos de la Segunda Sinfonía y el Septeto para Trío de Piano.

[22] Dimitry Markevitch: A New Beethoven Cello and Piano Sonata. Strings Magazine. Sept/Oct 1990. Pág 25-7

[23] Dimitry Markevitch: Beethoven Sonata Rediscovered. Strings Magazine. May-Jun 1993