CHASE

Nineteenth-century editions of Beethoven's Violin Concerto fall broadly into two strands, those that derive from the Ferdinand David-Joseph Joachim tradition and those that are independent of it. The former is by far the most pervasive and has left its mark even in such recent editions as David Oistrakh's for Breitkopf und Hartel; the latter includes Baillot, Vieuxtemps, Dont and Hellmesberger, whose editions differ significantly from the former, especially in matters of bowing. The 1828 Richault edition with markings that can confidently be attributed to Baillot represents an approach that precedes David's. Those of Vieuxtemps and Dont and Joseph Hellmesberger jr, though later than David's, come from violinists with strong Viennese connections. Vieuxtemps first played the concerto in 1834, apparently advised by some of Beethoven's friends, Dont's edition includes a preface claiming that it reflects the teaching of his father who, as first cellist, played in 'many' performances under Beethoven's direction from the premier onwards, while Hellmesberger was the scion of a long established violinist dynasty in Vienna. These connections are examined further in the prefatory notes to those editions on this website.

For further discussion of the textual problems of Beethoven's Violin Concerto and specific issues of performing practice see the critical edition by Clive Brown (Breitkopf und Hartel, 2012).

See also: two extracts (click here and here) included in Ossip Schnirlin's Der Neue Weg (1921). 

The edition by Robert Bockmühl is an arrangement for cello.