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Beethoven, Ludwig van. (1770–1827) [Op. 120] 33 Veränderungen über einen Walzer für das Piano-Forte componirt und Der Frau Antonia von Brentano gebornen Edlen von Birkenstock hochachtungsvoll zugeeignet...120tes Werk. [DIABELLI VARIATIONS]
Beethoven, Ludwig van. (1770–1827) [Op. 120] 33 Veränderungen über einen Walzer für das Piano-Forte componirt und Der Frau Antonia von Brentano gebornen Edlen von Birkenstock hochachtungsvoll zugeeignet...120tes Werk. [DIABELLI VARIATIONS]
Beethoven, Ludwig van. (1770–1827) [Op. 120] 33 Veränderungen über einen Walzer für das Piano-Forte componirt und Der Frau Antonia von Brentano gebornen Edlen von Birkenstock hochachtungsvoll zugeeignet...120tes Werk. [DIABELLI VARIATIONS]
Beethoven, Ludwig van. (1770–1827) [Op. 120] 33 Veränderungen über einen Walzer für das Piano-Forte componirt und Der Frau Antonia von Brentano gebornen Edlen von Birkenstock hochachtungsvoll zugeeignet...120tes Werk. [DIABELLI VARIATIONS]
Beethoven, Ludwig van. (1770–1827) [Op. 120] 33 Veränderungen über einen Walzer für das Piano-Forte componirt und Der Frau Antonia von Brentano gebornen Edlen von Birkenstock hochachtungsvoll zugeeignet...120tes Werk. [DIABELLI VARIATIONS]
Beethoven, Ludwig van. (1770–1827) [Op. 120] 33 Veränderungen über einen Walzer für das Piano-Forte componirt und Der Frau Antonia von Brentano gebornen Edlen von Birkenstock hochachtungsvoll zugeeignet...120tes Werk. [DIABELLI VARIATIONS]
Beethoven, Ludwig van. (1770–1827). [Op. 120] 33 Veränderungen über einen Walzer für das Piano-Forte componirt und Der Frau Antonia von Brentano gebornen Edlen von Birkenstock hochachtungsvoll zugeeignet...120tes Werk. [DIABELLI VARIATIONS]. Vienna: A. Diabelli et Comp.. [1824]. Titelauflage of First Edition.

Disbound oblong folio.  Secondary "collection" title page ("Vaterländischer Künstlerverein Veränderungen...") with blank verso, title page], 4–42 pp.; p. 43 lacking.  Engraved throughout.  [PN] C. et D. No. 1380.  On title page above imprint: "No. 1380.; Eigenthum der Verleger."; Pr. 2f. 45x.C.M.  At head of 1st line of music: Thema von A: Diabelli.  Handstamp of B. Schott, Mainz, to foot of title (partly cut off). 13 x 9.5 inches (24 x 33.5 cm). Final leaf, including final page of music, lacking; first two leaves and final extant leaf detached; first leaf ("collection" title) torn to spine, frayed to edges and creased; second leaf and final extant leaf (originally halves of same bifolium) frayed to spine.  Else a clean and wide-margined copy throughout.  

Titelauflage of the Cappi u. Diabelli first edition of 1823 (i.e. printed from the same plates) but with the addition of the secondary title page; the main title of the present copy is an updated version of the title from the first issue (1823), where pp. 2 and 3 were left blank. Kinsky p. 350-51. Dorfmüller p. 345 (copy in Bavarian State Library, Munich). Hoboken 2, 485. Hirsch IV, 387 (with "2. Abtheilung" angebunden). Beethoven-Haus C 252/195,3.

Best known in his time as a publisher (he was Schubert's first publisher), Diabelli is most familiar today as the composer of the waltz on which Ludwig van Beethoven wrote this celebrated set of thirty-three variations." Diabelli had approached a large number of composers active in Vienna to write one variation each on this theme. Fifty composers, including Schubert and even the eight-year-old Franz Liszt, complied, but Beethoven decided to have things his way and wrote a complete cycle, his largest variation work ever and his last at the same time. Donald Tovey called the Diabelli Variations "the greatest set of variations ever written" and Alfred Brendel even elevated them to "the greatest work for piano ever."

Beethoven, Ludwig van. (1770–1827) [Op. 120] 33 Veränderungen über einen Walzer für das Piano-Forte componirt und Der Frau Antonia von Brentano gebornen Edlen von Birkenstock hochachtungsvoll zugeeignet...120tes Werk. [DIABELLI VARIATIONS]

Schubertiade Music and Arts
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Beethoven, Ludwig van. (1770–1827). [Op. 120] 33 Veränderungen über einen Walzer für das Piano-Forte componirt und Der Frau Antonia von Brentano gebornen Edlen von Birkenstock hochachtungsvoll zugeeignet...120tes Werk. [DIABELLI VARIATIONS]. Vienna: A. Diabelli et Comp.. [1824]. Titelauflage of First Edition.

Disbound oblong folio.  Secondary "collection" title page ("Vaterländischer Künstlerverein Veränderungen...") with blank verso, title page], 4–42 pp.; p. 43 lacking.  Engraved throughout.  [PN] C. et D. No. 1380.  On title page above imprint: "No. 1380.; Eigenthum der Verleger."; Pr. 2f. 45x.C.M.  At head of 1st line of music: Thema von A: Diabelli.  Handstamp of B. Schott, Mainz, to foot of title (partly cut off). 13 x 9.5 inches (24 x 33.5 cm). Final leaf, including final page of music, lacking; first two leaves and final extant leaf detached; first leaf ("collection" title) torn to spine, frayed to edges and creased; second leaf and final extant leaf (originally halves of same bifolium) frayed to spine.  Else a clean and wide-margined copy throughout.  

Titelauflage of the Cappi u. Diabelli first edition of 1823 (i.e. printed from the same plates) but with the addition of the secondary title page; the main title of the present copy is an updated version of the title from the first issue (1823), where pp. 2 and 3 were left blank. Kinsky p. 350-51. Dorfmüller p. 345 (copy in Bavarian State Library, Munich). Hoboken 2, 485. Hirsch IV, 387 (with "2. Abtheilung" angebunden). Beethoven-Haus C 252/195,3.

Best known in his time as a publisher (he was Schubert's first publisher), Diabelli is most familiar today as the composer of the waltz on which Ludwig van Beethoven wrote this celebrated set of thirty-three variations." Diabelli had approached a large number of composers active in Vienna to write one variation each on this theme. Fifty composers, including Schubert and even the eight-year-old Franz Liszt, complied, but Beethoven decided to have things his way and wrote a complete cycle, his largest variation work ever and his last at the same time. Donald Tovey called the Diabelli Variations "the greatest set of variations ever written" and Alfred Brendel even elevated them to "the greatest work for piano ever."

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