Made With Dorico: Beethoven Piano Sonata #18, arr. for Woodwind Quartet

Here’s another one of my SoundCloud tracks I made with Dorico Pro 5.0.20. It’s an arrangement of the complete Beethoven Piano Sonata #18, Op. 31, No.3, arranged for Woodwind Quartet (flute, oboe, clarinet, bassoon). I’ve submitted it for publication, although my odds with this publisher are probably pretty slim. Here’s the private SoundCloud link:

I hope you enjoy it. Please let me know what you think.


I liked it, Lee. What sound library are you using?


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I suppose it’s NotePerformer 4, as he already has stated on earlier posts.

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There’s a lot of dynamic variation which gives it plenty of life. Was NP solely responsible or did you give it a helping hand? Really liked it.

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Well, Beethoven was responsible for the dynamics to begin with, but NP is solely responsible for interpreting them. I didn’t go into any of the editors and tweak anything.

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@MarcLarcher is correct - NP 4.2.1. I’ve just today upgraded to NP 4.3, as suggested in another thread. I can’t afford any of the other libraries supported by NPPE.

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There’s a wrong note on 4:09, flute’s motif should be Eb-A and not E-A.

In the version in the IMSLP, from where I took my original, the motif is very clearly marked E-natural to A-natural, with accidentals on both notes. This is changed in other editions, so who knows who’s right?

It appears you grabbed the first one that appeared:
First edition N. Simrock, N. Simrock - IMSLP, n.d.[1802].

There’s a terrific high chance the E natural was a mistake just by looking at the harmony, itself is very telling.
Kovacevich, Biret, Daniel Barenboim, Igor Levit, Yuga Wang are playing E flat.
I would say that it’s a more logical and safer bet on the other version.

Nope, I downloaded the next one in line:
Jean George Naigueli, n.d.[1804?].
It says E-natural.

I did check another one a little further down the line:
Tobias Haslinger, n.d.(ca.1835).
It says Eb, so someone changed it between the publications. Go figure. Is there any documentation on the reason for the change? (Besides the harmony - Beethoven may have wanted the dissonance, for all we know.)

The Naegeli first edition was so bad in general that Beethoven disowned it and asked Simrock to redo it as the “real” first edition. But the Simrock, while better than the Naegeli, also got this note wrong. It was probably unclear in the manuscript, which is no longer in existence.

My copy of the Simrock actually has a handwritten penciled correction of the E natural to E flat. And it has to be an E flat since we are momentarily in the key of C minor and the harmony at this point is an F sharp diminished seventh chord as pointed out by Sergei_Mozart. Every later edition I know has made the correction to E flat since E natural makes no musical sense.


Okay, this makes sense to me. I wish there were some attributions for your statements, however, but I’ll take what I can get now that both you and @Sergei_Mozart are saying the same thing. I’ll make the correction in subsequent editions. Thanks.

Here you go: From the critical notes to Murray Perahia’s edition of the sonata published by Henle:

op 31 no 3

A and B are the two first editions we have been discussing.


This forum is awesome.


That’s what I was looking for. You’re a font of information, a gentleman, and a scholar. Thank you very much!

You are very welcome, @leejackson And thank you for your kind words.

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