With LvBeethoven.com's website, you can listen to 928 midi files and 389 mp3 filesof works by Ludwig van Beethoven.

With LvBeethoven.com's website, you can listen to 928 midi files and 389 mp3 filesof works by Ludwig van Beethoven.

The following files to listen to are in midi format. The music is created by electronic sounds and instruments, which are sequenced by musicians who become the author. The sounds, therefore, do not come from an orchestra, but the result is often pleasenty surprising. Over to you to discover... Read more about what midi files are and how to listen to them.

Many thanks to Armando who make these works avalable to us.

Biamonti 8:
Second part of the trio Hess 48.
This part of the trio is made of 13 measures for piano, with refrain.
This sketch has been published by Willy Hess in the ninth book of the "Supplemente zur G.A." 1965.

Listen to the mp3 file of this work

(834 Ko)

Biamonti 48:
"Anglaise" for piano (only the melody), november 1792 - beginning of 1793.
Published by Willy Hess in his ninth book of the "Supplemente zur G.A." (Revisionsbericht, page 142), 1965.
I made a sketch for the end of the melody, in two parts, measures 8/8, with refrain.
The original manuscript is at the end of a sheet which contains also the exercises Hess 58 & 59.

Listen to the mp3 file of this work

(731 Ko)

Biamonti 48 with harmony:
I have added the harmony to this sketch.
Different adaptations are possible but I choose to be as discreet as can be.

Listen to the mp3 file of this work

(760 Ko)

Biamonti 53:
Sketch for an unfinished Bagatelle in A Major. November 1792 - Begining of 1793.
Published by Willy Hess in the ninth book of the "Supplemente zur G.A." (Revisionsbericht, page 141, 1965).
Two parts, measures 8/22 (with repetition of the first part) and refrains.
The original sketch is on the fourth page of a double sheet which is at the Beethovenhaus de Bonn, with the "Andante", Biamonti 52, and the Lied "Traute Henriette", Hess 151.

Biamonti 53 with harmony:
Sketch for an unfinished Bagatelle in A Major.
I have added harmony with as few notes as possible.

A. Schmitz

Biamonti presents, from number 267 to number 285, unused sketches and fragments that have been published by A. Schmitz (Schm.): "Beethoven, unbekannte Skizzen und Entwurfe, Bonn, Beethovenhaus, 1924".

These 6 pages are today at the Beethovenhaus Bonn.

Kessler's book:

This book has been bought on novembre 5, 1827 by Stein, a piano maker, at the public auction of "Beethoven's estate". Then T. C. Kessler bought it. It is now at the Musikfreunde's museum at Vienna.

Nottebohm studied it in details and determined the date to be october 1801 to may 1802.

Some sketches are for unidentified works, and some others were for Opus 33/6, Opus 36, Opus 30/1, Opus 34, etc.

Biamonti 313:
Sketch of the end of the piano Sonata Opus 31 number 3, Spring 1802.

Biamonti 344
1802 - 1803
0'11"

Kessler 74: Completed Sketch for the Sonata Opus 30 number 1

Biamonti 381
1803
0'09"

0'33"

Biamonti 381 :
Sketch for a march.

Biamonti 381 harmonized sketch

Wielhorsky's Book

This book has 174 pages. It belonged to the Russian Count Michel Wielhorsky, who knew Beethoven when he was young. When the count died, the book was then owned by Senator Vienevitinov. The book disappeared in 1905, but was recovered in 1939. It is now at Glinka's museum in Moscow.

Wielhorsky's book was studied by De Lenz but mainly by Ludwig Nohl.

It contains the sketches from April 1802 to March 1803.

Identified works: Opus 31/1, Opus 33, Opus 47 and Opus 84.

Grasnick 3:

This book, known as "Grasnick 3", was at the Preussische Staatsbibliothek. Nowdays, there is a copy at the Beethovenhaus.

It was studied by Nottebohm, (N II, chapiter XLVII) and, more recently, by Doctor Dagmar Weise, in 1957.

The book is made of 43 sheets (86 pages) on which one can find the sketches of the Opus 80, the Opus 73 and the Lied Gegenliebe; there are also sketches for unknown works: Biamonti 457 and 474.

Biamonti 465
1808
0' 05''

Landsberg 5:

These pages has been compiled recently under the name "Landsberg 5". The sketches, dated 1809, are at the Beethoven-Sammlung en der Musik der Deuschen Staatsbibliothek - Berlin. The Beethovenhaus Bonn published a very good edition in 1993, realised by Doctor Clemens Brenner.

The first pages are missing, but some pages were added, coming from Peters and Willmot's books.

The sketches of this books were composed for Opus 69, 70, 73, 74, 75-5, 75-6, 76, 77, 79, 80, 81a, 82-2, 85, 86, 115.

It presents many sketches unpublished before. A real gold mine...

Biamonti 488 :
Biamonti 488 Ausweichungsformel (modulation formula), dated 1809.
In Landsberg 5, page 73.
This piece of music has been described by Nottebohm, II page 268, and published by the Beethovenhaus "Ein Schizzenbuch aus dem Jahre 1809", page 125.

Biamonti 490:
Sketch for a concert piece.

Biamonti 491 :
Freudvoll und Leidvoll (Joyfully and painfully)
Lied for two voices and piano.
This sketch has not been used. It was written sheets described by Nottebohm N,II, pages 270 and 271.
This lied has no relation to the song for voice and orchestra composed for "Egmont", Opus 84.

Biamonti 522: Sketch for a fugue in C minor.

The sketches were composed between January and September 1810, and are with the sketches of the Piano Trio Opus 97.

Biamonti 548: Miserere Mei, Amplius and Libera me, cantatas for Beethoven's funerals.

These midi file have been created from a rare book "Life of Beethoven" by Ignaz Moscheles, Boston 1841.

These realisations are World premieres created by Armando Orlandi for LvBeethoven.com.

The music of the Equali have been adapted for four voices by Ignace Seyfried. These cantatas have been sung on the 29th of mars 1827, for Beethoven's funerals.

Miserere

Miserere mei Deus,
secundum magnam misericordiam tuam.

Amplius

Amplius lava ab iniquitate mea,
et a peccato meo munda me.

Libera

Libera me Domine de morte aeterna
In die ille tremenda quando coeli movendi sunt terra.
Dum veneris judicare saeculum judicare
Saeculum per ignem.
Tremens cactus sum ego et timeo
Dum discussio venerit
Atque venture ira.
Quando coeli movendi sunt et terra.
Dies illa, dies ira calamitati set miseriae,
dies magna magna dies et amara valde.
Dum veneris judicare saeculum juduicare
Saeculum per ignem.
Requiem aeterna dona, dona eis Domine.

Biamonti 697:
Sketch for a Fugue in B flat minor. (Nottebohm, II, page 127).
Four measures for a Fugue.

Biamonti 697 completed:
Of course, this sketch is too small to know what it would have turned into. However, here is a small addition that may help to hear a possible result.

Biamonti 698:
Sketch for a Cantata "Viva Rudolphus" in honor of the Archduke (Nottebohm, II, pages 127-128).
At the beginning , Beethoven wrote: "dieser Anfangs durchgefurt u. spater 4 Stimmigen Chor", which means "this part must be at the beginning and then, with a chorus for four voices".
The cantata will never be finished, like so many other works started during these two years.
However, one must notice that the second theme has been used for the sonata Opus 106, as the first theme of the first movement.

Biamonti 699:
End of a Minuet (Nottebohm, II, page 129). Beethoven wrote: Zuerst Menuet, Ende (before the Minuet, end)
Adagio fis moll oder (Adagio F # minor or)...

Biamonti 700:
Thos sketch for a Fugue fellows the Minuet Biamonti 699 (Nottebohm II page 129).
Beethoven wrote: Fis dur Fugirt (F # major - Fugue). In diesem wo moglich B-Moll (in this piece, if possible, B flat minor).

Biamonti 701:
Intermezzo (Nottebohm, II, page 129).
Beethoven wrote: "Zwischnsatz oder Abschnitt st... in Stuch" (Interval, piece to be placed in the last part).

Biamonti 701 with harmony:
With the harmony and the played twice, this sketch is much more musical....

Biamonti 726:

Listen to the mp3 file of this work

(1 823 Ko)

This melody was written during the first half of May 1820 in a conversation book (ILTE, page 603, sheet 23) without further notice.
This very nice melody is written after a few sentences by Oliva. Then Beethoven writes about the third floor of the Staatskanelsisten.
Then is the melody and then:
125 fl and 30 kr.
  83 -        40
-----------------
209.         10kr.

Biamonti 738

Listen to the mp3 file of this work

(2 846 Ko)

Fragments from the conversation book dated march 1822. They are very difficult to read (ILTE pages 788 and 792).
This notebook was made of 25 sheets (127x200). 48 pages have been used. On the sheet 1a Schindler noted: "+1 year 822, Music".
These pieces of music were written with a pencil and the notes have faded away and are almost illegible.

Biamonti 758:
Sketch"2te St" (Second sonata). Adagio. 1819 - 1822, Book II *, page 76 (Nottebhom, II, page 467)
On the sketch fellowing this one, on the same sheet, the words "3tes Stuck presto" are written (third piece presto) and it uses the same theme as the sonata Opus 111.

Biamonti 779a:
Unused sketches for the Ninth Symphony, Opus 125 - 1823.
Nottebohm, II, chapter XX, pages 174 and more.
a) Nottebohm, II, pages 174-176: Second theme of the third movement with a "cantabile" theme.

Biamonti 811:
3-part Canon in C minor - February - August 1825 (Deroda, page 87)*

* The notebook was possessed by the Spanish Marquis of Bogaraya. It was then given by his widow to Professor Cecilio de Roda (of the School of Higher Studies of the University of Madrid) who studied it, and who published the results in volumes XI-XIV of the Rivista Musicale Italiana Torino, Bocca, 1907 ("un quaderno autografo di Beethoven del 1825"). It was lost after the death of De Roda, which occurred in 1912.
The note-book was written in during the period of February - March to August 1825; it therefore is situated between the note-book of 1824 (chapter LVII of Zweite Beethoveniana of Nottebohm, II, pages 540-551) and the six other note-books to which is made reference by the same author, in chapter I (II, pages 1-13). Beyond the unusual sketches, it contains other obvious links to the quartets Opus 130 and 132 and the Grand Fugue Opus 133.

March 1825 - May 1826 (Nottebohm II, page 11).

Note the likeliness of this Veni, Creator Spiritus with Gustav Mahler's eight symphony.

• Fiorella e Armando Orlandi
  are kind and assidious correspondents, and, moreover, talented creators of midi files. Thank you to them for entrusting me with their creations, and for being willing to continue on works which I lack!