- Hess, Willy. “Fünfzig Jahre im Banne von Leonore-Fidelio.” Beethoven-
Jahrbuch9 (1973–1977): 167–184.
A summary of research on the opera, with special concern for the versions of
1805 and 1806, and differences between manuscript and printed editions. List
of all writings on the opera by Hess (who has given it much attention). - Ruhnke, Martin. “Die Librettisten des Fidelio.” In Opern-studien: Anna
Amalie Abert zum 65. Geburtstag,ed. Klaus Hortschansky, 121–140 (Tutzing:
Schneider, 1975; ISBN 3795- 20155-1; ML55 .A15).
Compares the 1805 and 1806 versions with a later libretto of 1814 and an ear-
lier one of 1798. - Gossett, Philip. “The Arias of Marzelline: Beethoven as a Composer of
Opera.” Beethoven Jahrbuch10 (1978–1981): 141–183.
Analyzes sketches for the aria, which opens the 1805 Leonore,and establishes
a chronology of the versions. They finally resulted in “a mode of declamation
appropriate for Marzelline’s aria.” Applies “linear reduction” to the drafts.
Concludes that a “study of the sketches adds a wealth of associations and
meanings” to study of the final form alone. - Albrecht, Theodore. “Beethoven’s Leonore: A New Compositional Chronol-
ogy Based on May-August 1804 Entries in Sketchbook Mendelssohn 15.” JM
7 (1989): 165–190.
Offers “substantial (if sometimes speculative) evidence for a revised dating of
Beethoven’s early work... including Leonore.” Events of 1804, including an
incident related by one of the composer’s pupils, plus dates of other sketches
are considered. A new chronological table is provided for the contents of
sketchbook Mendelssohn 15, drawing on facts developed by Tyson (#493). - Broyles, Michael. “Stylistic Dualism in Early Beethoven and the LeonoreChal-
lenge.” JM5 (1987): 419–447.
A study of the changes made by Beethoven in the three Leonoreovertures, in
the light of his other works of the time. He was learning that “the orchestra
could be used in a poetic and dramatic manner independent of the classical
symphonic approach.” - Robinson, Paul. “Fidelioand the French Revolution.” COJ3-1 (March 1991):
23–48.
Finds a political interpretation that explicates the text and music. Freedom is
the ideological center. The idea and word Freiheitare emphasized by musical
climaxes. Freedom moves from “an unconstructed to a redeemed order” sepa-
rated by the trumpet call in the middle of act 2. The French Revolution itself is
symbolized. - Tusa, Michael C. “The Grave-digging Duet in Leonore(1805).” Beethoven
Forum5 (1996): 1–64.
Considers the surviving sketches for the 1805 version of Fidelio(then identi-
fied as Leonore), with focus on the duet (no. 14), “Nur hurtig fort, nur frisch
Ludwig Van Beethoven 113