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Für Elise
Bagatelle No. 25 in A minor (WoO 59 and Bia 515) for solo piano, commonly known as "Für Elise" or "Fuer Elise" (, English: "For Elise", sometimes written without the German umlaut mark as "Fur Elise"), is one of Ludwig van Beethoven's most popular compositions.〔William Kinderman, ''The Cambridge Companion to Beethoven'', Cambridge: Cambridge University Press, 2000, pp. 125–126, ISBN 978-0-521-58934-5〕〔Dorothy de Val, ''The Cambridge Companion to the piano'', Cambridge: Cambridge University Press, 1998, p. 131, ISBN 978-0-521-47986-8, "Beethoven is here (the 1892 ''Repertory of select pianoforte works'' ) only by virtue of 'Für Elise', but there is a better representation of later composers such as Schubert ... , Chopin ... , Schumann ... and some Liszt."〕〔Morton Manus, ''Alfred's Basic Adult All-In-One Piano Course'', Book 3, New York: Alfred publishing, p. 132, ISBN 978-0-7390-0068-7〕 It is usually classified as a bagatelle, but it is also sometimes referred to as an .
== History ==
The score was not published until 1867, 40 years after the composer's death in 1827. The discoverer of the piece, Ludwig Nohl, affirmed that the original autographed manuscript, now lost, was dated 27 April 1810.
The version of "Für Elise" heard today is an earlier version that was transcribed by Ludwig Nohl. There is a later version, with drastic changes to the accompaniment which was transcribed from a later manuscript by Barry Cooper. The most notable difference is in the first theme, the left-hand arpeggios are delayed by a 16th note beat. There are a few extra bars in the transitional section into the B section; and finally, the rising A minor arpeggio figure is moved later into the piece. The tempo marking ''Poco moto'' is believed to have been on the manuscript that Ludwig Nohl transcribed (now lost). The later version includes the marking ''Molto grazioso''. It is believed that Beethoven intended to add the piece to a cycle of bagatelles.
The pianist and musicologist argued in his thesis and his 2010 book ''Beethoven al piano'' that Beethoven might not have been the person who gave the piece the form that we know today. Chiantore suggested that the original signed manuscript, upon which Ludwig Nohl claimed to base his transcription, may never have existed.〔Luca Chiantore: ''Beethoven al piano''. Barcelona: Nortesur, 2010, p. 333–360, ISBN 978-84-937357-6-0〕 On the other hand, the musicologist Barry Cooper stated, in a 1984 essay in ''The Musical Times'', that one of two surviving sketches closely resembles the published version.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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