Robin Wallace,The Critical Reception of Beethoven’s Compositions by His German Contemporaries, Op. 73 to Op. 85.
The Center for Beethoven Research at Boston University, 2018.

Robin Wallace,  The Critical Reception of Beethoven’s Compositions by His German Contemporaries, Op. 86 to Op. 91
The Center for Beethoven Research at Boston University, 2020.

Robin Wallace, The Critical Reception of Beethoven’s Compositions by His German Contemporaries, Op. 92 to Op. 100.
The Center for Beethoven Research at Boston University, 2020.

Robin Wallace, The Critical Reception of Beethoven’s Compositions by His German Contemporaries, Op. 101 to Op. 111
The Center for Beethoven Research at Boston University, 2020.

Robin Wallace, The Critical Reception of Beethoven’s Compositions by His German Contemporaries, Op. 112 to Op. 122
The Center for Beethoven Research at Boston University, 2020.

Robin Wallace, The Critical Reception of Beethoven’s Compositions by His German Contemporaries, Op. 123 to Op. 124
The Center for Beethoven Research at Boston University, 2020.

Robin Wallace, The Critical Reception of Beethoven’s Compositions by His German Contemporaries, Op. 125.
The Center for Beethoven Research at Boston University, 2017.

Robin Wallace, The Critical Reception of Beethoven’s Compositions by His German Contemporaries, Op. 126 to WoO 140.
The Center for Beethoven Research at Boston University, 2018.

 

 


lewis-Lockwood_BW_croppedLewis Lockwood, “Beethoven’s Sketches: The State of Our Knowledge.”
The Center for Beethoven Research at Boston University, 2014.

 

 


Nicholas Kitchen 2Nicholas Kitchen, “Manuscript Markings in Beethoven’s Op. 131,”
Paper from the Symposium on Beethoven: String Quartet in C-Sharp Minor, Op. 131, April 5, 2017.  Paper and annotated score of op. 131.

Response by David B. Levy.
Nicholas Kitchen,  Manuscript expressive markings edition score and parts for Beethoven String Quartet in Eb Major, Op. 127.


Jens DufnerJens Dufner, “Do We Have a Composing Score of Op. 131? The Genesis of the Andante Movement.”
Paper from the Symposium on Beethoven: String Quartet in C-Sharp Minor, Op. 131, April 5, 2017.
Summary

  Response by Lewis Lockwood.

 


Barbara_BarryBarbara Barry, “Invisible cities and imaginary landscapes ‘quasi una fantasia’: on Beethoven’s op.131″

   Reprinted with kind permission of The Musical Times.

Response by Alan Gosman.

Barbara Barry, “Beethoven’s E flat major quartet Op. 127 and the Paradigm of Persuasion.”

Reprinted with kind permission of The Musical Times.

     Barbara Barry,  “Beethoven’s Op. 135 as ‘Haydn’ quartet”

Reprinted with kind permission of The Musical Times.