By Alan Lomax, John A. Lomax
Tune and lyrics for over two hundred songs. John Henry, Goin' Home, Little Brown Jug, Alabama-Bound, Ten Thousand Miles from Home, Shack Bully Holler, Black Betty, The Hammer Song, Bad guy Ballad, Jesse James, Down within the Valley, The undergo within the Hill, Shortenin' Bread, The Ballad of Davy Crockett, and plenty of extra.
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Additional info for American Ballads and Folk Songs (Dover Books on Music)
The use of the red pencil seems to represent a separate pass through the manuscript by Beethoven, a pass that he did not carry all the way but only through the exposition. Presumably, this was because the development pages were already too well populated by inked-in changes, and perhaps also because he may have expected that he could depend on his very able copyist, Schlemmer, to carry red changes in the exposition over into parallel passages in the recapitulation. The red pencil was useful for correcting notes or accidentals, to reinforce certain passages (for example, зг/ 2/1), or to cancel (for example, 2г/11/2).
Notable too is that in his first letter mentioning the text of Op. 69 (letter to Breitkopf and Härtel of July 26, 1809) he also mentions his deep disturbance over current conditions in Vienna, which was then under French siege: "Since May 4 I have managed to produce A U T O G R A P H OF T H E F I R S T M O V E M E N T OF O P U S 69 З1 very little that is coherent, virtually only a fragment here and there. " In this same letter (source Μ in my list), the relevant passage is as follows (my translation; see Appendix II for the original text): Here is a goodly serving of printer's errors, which, since I never in my life trouble myself any longer about things I have already written, were pointed out to me by a good friend (they are in the violoncello sonata).
72, left hand (зг/11/4). A t a later stage Beethoven considered strengthening the bass register, presumably to bring out the new position of what had formerly been an upper line (mm. ). To do so, he marked " V i - " for the left hand at m. 7 1 and added the "left hand" interpolation visible on staff 1 2 just below the triplets. This second possibility lasted a little longer, as expressed in the verbal direction below m m . 7 3 - 7 4 : "col Violoncell in 8 " — but eventually it too gave way to a return to the idea of restricting the Pfte to the upper register only, in octaves, with the Vcl as sole bass support.
American Ballads and Folk Songs (Dover Books on Music) by Alan Lomax, John A. Lomax