This version is in the key of F, unlike the final version which is in the key of E-flat. There are also several other significant variations in this original version. Among these is the last note of the 13th measure of the score, which Beethoven either misread or changed from an A to a B-flat. Thomson subsequently corrected the note to A, but this produced a harmonic clash with the accompaniment, which Beethoven noted when checking the manuscript. As Dr. Barry Cooper notes in his "Beethoven Folksong Settings" at p.106, Beethoven "could not simply alter the one chord below the corrected note: an A in the melody implied tonic harmony in the second half of the bar, which meant that the tonic harmony already present in the first half would have to be changed for the sake of variety. In turn this meant that the tonic harmony in bar 15 needed alteration to match; and this change may be the cause of further revision to the harmony in bars 15-17 ...., resulting in a passage of extraordinary originality, with repeated postponement of the dominant chord that is expected at the beginning of bar 16."

Oh! Thou are the lad of my heart, Willy

                          Oh! Thou are the lad of my heart, Willy,
                          There's love and there's life and glee,
                          There's a cheer in thy voice, and thy bounding step,
                          And there's bliss in thy blithesome ee.
                          But, oh, how my heart was tried, Willy,
                          For little I thought to see,
                          That the lad who won the lasses all,
                          Would ever be won by me.

                          Adown this path we came, Willy,
                          T'was just at this hour of eve;
                          And will he or will he not, I thought, 
                          My fluttering heart relieve?
                          So oft as he paused, as we saunter'd on,
                          T'was fear and hope and fear;
                          But here at the wood, as we parting stood,
                          T'was rapture his vows to hear!

                          Ah vows so soft thy vows, Willy!
                          Who would not, like me, be proud!
                          Sweet lark! with thy soaring echoing song,
                          Come down from thy rosy cloud.
                          Come down to thy nest, and tell thy mate,
                          But tell thy mate alone,
                          Thou hast seen a maid, whose heart of love,
                          Is merry and light as thine own.

                                     ----William Smyth

This first version of this folksong (one of the first written by Beethoven for George Thomson) is notably different from the final version (sent to Thomson in August 1812). The piano part is a good deal more active and difficult, with triplet 16th notes throughout the piece except in the very first and very last measures. George Thomson wrote Beethoven that the arrangement was "very brilliant and truly excellent but the piano part is too difficult, and contains too many roulades to be generally played here." Thomson also had in the meantime found a better version of the melody, which was used to write op. 108 nr. 20. In addition, it is apparent that between the two versions Beethoven found out that the text involved a conversation between two people; between the woman's and the man's words in the lyrics, Beethoven inserted a two-measure ritornello as a clear separation. This is supported further by the echo of the rising phrase with the question "When will you come again?" which emphasizes this crucial phrase and its inquiring nature.

Faithfu' Johnie

                        When will you come again, my faithfu' Johnie,
                        When will you come again?
                        "When the corn is gathered, and the leaved are withered,
                        I will come again, my sweet and bonnie, I will come again."

                        Then winter's wind will blow, my faithfu' Johnie, 
                        Then winter's wind will blow:
                        "Though the day be dark wi' drift, that I cannot see the lift,
                        I will come again, my sweet and bonnie, I will come again."

                        Then will you meet me here, my faithfu' Johnie,
                        Then will you meet me here?
                        "Though the night were hallowwe'en when the fearfu' sights are seen,
                        I would meet thee here, my sweet and bonnie, I would meet thee here."

                        O come na by the muir, my faithfu' Johnie,
                        O come na by the muir.
                        "Though the wraiths were glist'ning white, by the dim elf-candles' light,
                        I would come to thee my sweet and bonnie, I would come to thee."

                        And shall we part again, my faithfu' Johnie?
                        Shall we then part again?
                        "So lang's my eye can see, Jean, that face so dear to me, Jean,
                        We shall not part again, my sweet and bonnie, we shall not part again."

Oh Let the Night my Blushes Hide (1809), Hess 204 (Three variant settings). These are three initial attempts at the setting of this song, which ended up as WoO 155 (25 Welsh songs), Nr. 7. Strictly speaking, only the variant with the abandoned coda falls under Hess 204, but Hess in his Supplements gives all three versions. This seemed like the most appropriate place to put the other two variants, both of which are more substantial than the variant coda. The first of these variants is actually the most authentic version, since the version printed by Thomson and in the Collected Works omits nine bars and adds one. Beethoven wrote out in full a repeat of the first verse, with a different accompaniment each time. The first one of these was deleted. According to Dr. Barry Cooper, these amendments were evidently made by Thomson to accommodate William Smyth's text. The second variant exists only in a piano part for the last half of the song; we have here appended it onto the first variant so far as it is not inconsistent. The third variant is just a different (and much weaker) coda to the piano variant. In the Hess Catalog, this coda is mistakenly attributed to WoO 155 Nr. 11, Merch Megan, which is sketched immediately before this coda. Hess acknowledged this error in the Revisionsbericht of his Supplement, vol. XIV.

 O Let the Night my blushes hide

                          Oh let the night my blushes hide,
                          While thus my sighs reveal,
                          What modest love and maiden pride 
                          Forever would conceal.
                          Oh let the night my blushes hide,
                          While thus my sighs reveal,
                          What modest love and maiden pride 
                          Forever would conceal.
                          What can he mean, how can he bear, 
                          Thus falt'ring to delay;
                          How can his eyes, his eyes so much declare,
                          His tongue so little say, his tongue so little say?

                          Our parents old, --for so I guess,
                          His thoughtful mind alarm;
                          A thousand spectres of distress,--
                          The ruined crops and farm!
                          Our parents old, --for so I guess,
                          His thoughtful mind alarm;
                          A thousand spectres of distress,--
                          The ruined crops and farm!
                          But must we wait till age and care
                          Shall fix our wedding day;
                          How can his eyes so much declare,
                          His tongue so little say?

                          The times are hard,--an odious word,
                          I'm wearied with the sound,--
                          A cuckoo note, for ever heard 
                          Since first the sun went round,
                          The times are hard,--an odious word,
                          I'm wearied with the sound,--
                          A cuckoo note, for ever heard 
                          Since first the sun went round,
                          Well pleas'd a happier mind I bear,
                          A heart for ever gay;
                          How can his eyes so much declare,
                          His tongue so little say?

                          What recks it that the times are hard,
                          Try fortune, and be blest--
                          Set Hope still cheer and Honour guard,
                          And Love will do the rest.
                          What recks it that the times are hard,
                          Try fortune, and be blest--
                          Set Hope still cheer and Honour guard,
                          And Love will do the rest.
                          Far better load the heart with care,
                          Than waste it with delay;
                          How can his eyes so much declare,
                          His tongue so little say?

                                        --William Smyth

This Welsh folk song is the original version of the song which is now catalogued as WoO 155 Nr. 14. This version differs in the ritornello between the verses and in the conclusion. The manuscript of this version is in the Paris Conservatory.

The Dream

                   Last night worn with anguish that tortur'd my breast,
                   When my senses benumb'd I at length sank to rest;
                   The passion that waking has ruled o'er my mind
                   Still woke in my dreams where it rov'd unconfin'd.

                   Methought that my fair one, o'ercome by my pain,
                   Assented at length to reward her fond swain;
                   And soon at the altar she stood by my side,
                   To the priest I already "I will" had replied.

                   Her reply I awaited with transport of soul,
                   When, death to my hopes! did the matin bell toll,
                   I started, awoke, and with horror I found,
                   'Twas a dream that maliciously fled at the sound.

                   O Vision that thus hast beguiled my poor heart!
                   Fly to her and shew all the truth without art;
                   Present me the victim of love and despair,
                   And incline to compassion the obdurate fair.

                           ----David ap Gwillim, translated from the Welsh by Rev'd Roberts of Pentre.

                   The Welsh original (which bears little resemblance to Rev'd Roberts' translation beyond the title) follows: 

                   Y Breuddwyd

                   Fal yr oeddwn, gwyddwn gel,
                   Yn dargwsg mewn lle dirgel.
                   Gwelais are glais dichlais dydd
                   Breuddwyd yn ael boreddydd.
                   Gwelwn fy mod yn rhodiaw
                   A'm llu bytheiais i'm llaw,
                   Ac i fforest yn gestwng,
                   Teg blas, nid ty taeog blwng.
                   Gollyngwn i yn ddioed,
                   Debygwn, y cwn i'r coed.
                   Clywwn oraiu, lleisiau llid,
                   Canu'n aml, cwn yn ymlid.

                   Ewig wen uwch y llennyrch
                   A welwn, carwn y cyrch,
                   A rhawt fytheiaid ar hynt
                   Yn ei hol, iawn eu helynt;
                   Cyrchu'r allt dros ddiwalltrum,
                   A thros ddwy esgair a thrum,
                   A thrachefn dros y cefnydd
                   Ar hynt un helynt a hydd,
                   A dyfod wedy dofi,
                   A minnau'n ddig, i'm nawdd i;
                   Dwyffroen noeth, deffro wneuthum,
                   Wr glwth, yn y bwth y bum.

                   Cefais hynafwraig gyfiawn,
                   Pan oedd ddydd, yn ddedwydd iawn.
                   Addef a wneuthum iddi,
                   Goel nos, fal y gwelwn i:

                     'Rho Duw, wraig gall, pei gallud
                   Rhyw derfyn ar hyn o hud,
                   Ni chyfflybwn, gwn ganclwyf,
                   Neb a thi.  Anogaith wyf.'

                     'Da o beth, diobeithiwr,
                   Yw dy freyddwyd, od wyd wr.
                   Y cwn heb gel a welud
                   I'th law, pei gwypud iaith lud,
                   Da hwylwyr diau helynt,
                   Dy lateion eon ynt.
                   A'r ewig wen, unbennes
                   A garud di, hoen geirw tes,
                   Diau yw hyn, y daw hi 
                   I'th nawdd, a Duw i'th noddi.'

                   ---Dafydd ap  Gwilym: Poems 
                           The Welsh Classics (1994)  

This is a setting of lyrics by David ap Gwillim for James Thomson, a publisher in Scotland. It is one of the very first folk melodies arranged by Beethoven for Thomson. We can see that Beethoven was still feeling his way for the best way of providing an accompaniment for these songs; the piano and the violin both double the vocal line for much of the piece, which seldom occurs in later arrangements. The same melody was set by Beethoven, in a much different version, as one of the 26 Welsh Folk Songs, WoO 155 Nr. 20 in 1813. The reason for the new setting was Thomson's complaint regarding the difficulty of the instrumental accompaniment. Thomson wrote Beethoven: "In this country there is not one pianist in a hundred who could make the two hands go well together in the first ritornello, that is to say, play four notes of one hand and three notes of the other at the same time." The introduction does pose substantial difficulties, setting eighth and 16th notes in the right hand of the piano part against triplet 8th notes in the left. Beethoven complained that he had not been given any instructions about level of difficulty, but nevertheless composed an entirely new version of the song for Thomson. Beethoven's correspondence with Thomson indicates that the repeats of the first section of this and several other songs are optional, depending upon whether other words are available for these repeats. We have given the song in full, using all repeats.

To the Blackbird

                        Sweet warbler of a strain divine,
                        What woodland note can equal thine?
                        No hermit's matins hail the day
                        More pure than fine from yonder spray.
                        Thy glossy plumes of sable hue,
                        Retiring from the searching view,
                        Protect the like, the leafy screen 
                        Beneath whose shade thou sing'st unseen.

                        What ermin vest was e'er so warm
                        As plumes of down that cloth thy form!
                        Thy graceful crest, thy sparkling eye,
                        And slender bill of coral dye,
                        Are still less charming than thy song,
                        Which echoes through the woods prolong:
                        They mellow strain delights the ear
                        Of the sweet maid my soul holds dear.

                        Thou to the poet art allied,
                        Be then thy minstrelsy my pride:
                        Thy poet then, thy song I'll praise,
                        Thy name shall grace my happiest lays;
                        To future lovers shall proclaim
                        Thy worth, thy beauty, and thy fame,
                        And when they hear thee in the grove,
                        They'll own thee for the bird of love.

                        David ap Gwillim, trans. by Rev'd Roberts of Pentre

                        The Welsh original (which Rev'd Roberts very loosely translated) follows:

                        Y Ceiliog Mwyalch

                        Y ceiliog mwyalch balchbwyll,
                        Dawn i'th dal, a Duw ni'th dwyll.
                        Cyfion mewn glyn d'emyn di,
                        Cyson o union ynni.
                        Crefyddwr wyd anwydawl,
                        Cerdi fi, croyw yw dy fawl.

                        Gwisgaist, enynnaist annerch,
                        Gwisg ddu, nid er selu serch,
                        Gwisg a ddanfones Iesu
                        Is dail it o sae du,
                        A dwbwl gwell no deuban,
                        Mawr ei glod, o'r mwrrai glan;
                        Sidan gapan am gopa
                        Yn ddu rhoed yn ddiau'r ha',
                        Dwbled harddgled mewn rhedyn
                        Blac-y-lir uwch glandir glyn.
                        Muchudd dy ddeurudd eirian,
                        Pig cwrel gloyw, angel glan.

                        Prydydd wyd medd proffwydi,
                        Cywyddol maenol i mi,
                        Awdur cerdd adar y coed,
                        Esgud cyw mwyndrud meindroed.
                        Os gwyddost yn osgeiddig
                        Annerch gwen dan bren a brig,
                        Os gwn innau o newydd,
                        Sgwir gwawd, ysgwier y gwydd,
                        Ganu moliant a'i wrantu
                        I ti, y ceiliog, wyt du.
                        Du yw dy gwfwl, da ion,
                        A'th gasul, edn iaith gyson.

                        Mydriwr wyd a broffwydais,
                        Medrud son uwch Medrod Sais.
                        Duw a'th gatwo, tro traserch,
                        Adain syw, edn y serch.

                        ----From Dafydd ap Gwilym Apocrypha, (1996),
                                The Welsh Classics. 

"E pur fra le Tempeste," Tenor melody Hess 232 (1795?). This tenor melody is apparently one of the many songs Beethoven arranged in his studies on Italian declamation with Antonio Salieri during the first years in Vienna (most of the others are grouped under WoO 99). The piano accompaniment is conjectural and was written by Willy Hess. The lyrics are as follows:

E pur fra le tempeste la calma io ritrovai; Ah, non ritorni mai, mai piu sereno il di. Questo de' giorni miei, questo e il piu ciaro giorno, Viver cosi vorrei, vorrei cosi morir, viver cosi, cosi vorrei, Vorrei morir cosi. The text is from Metastasio's cantata "La Tempesta."

#01: 2 part simple fugue in D min. No.1 from Nottebohm's Chapter IV, p.73. Corrected by Albrechtsberger. Based on theme Nr.2 from Albrechtsberger's list. The theme is very chromatic in character. The fugue is here scored for Church & Reed Organs. Dates from about 1794-95.

#02: 2 part simple fugue in E phrygian,. No.2 from Nottebohm's Chapter IV, p.75. Corrected by Albrechtsberger. Based on theme Nr.4 from Albrechtsberger's list. If you think the entry of the 2nd voice sounds odd, then congratulations! You have good ears. What you've spotted is the oddity of the phrygian mode. Here scored for harpsichord and Nylon-string Guitar. Dates from about 1794-95.

#03: 2 part simple fugue in F. Based on theme nr.5 from Albrechtsberger's list. No.3 from Nottebohm's Chapter IV, p.76. Corrected by Albrechtsberger. Here scored for violin doubled by flute and cello doubled by english horn. Dates from about 1794-95.

#04: 2 part simple fugue in B flat. Based on theme nr.8 from Albrechtsberger's list. No.4 from Nottebohm's Chapter IV, p.78. Corrected by Albrechtsberger. Here scored for french horn doubled by choir aahs and trombone doubled by voice oohs. Dates from about 1794-95.

#05: 2 part simple fugue in D min. Based on theme Nr.10 from Albrechtsberger's list. No.5 from Nottebohm's Chapter IV, p.80. Corrected by Albrechtsberger. Here scored for french horn and trombone. Dates from about 1794-95

#06: 2 part simple fugue in E min. Based on theme nr.11 from the list. No.6 from Nottebohm's Chapter IV, p.81. Corrected by Albrechtsberger. Here scored for harp and piano. Dates from about 1794-95.

#07: 2 part simple fugue in F. Based on theme Nr.12 from Albrechtsberger's list. No.7 from Nottebohm's Chapter IV, p.82. Corrected by Albrechtsberger. To indicate the pettiness of some of Albrechtsberger's rules here an example: in bars 23-25 Beethoven has the "boldness" to use the rhythm of a half note tied to an eighth, followed by three eighths. This is forbidden in "Strengen Satz", and they are replaced by 4 quarter notes by Albrechtsberger. Here scored for viola doubled by marimba and cello doubled by vibraphone. Dates from about 1794-95

#08: 2 part simple fugue in B flat. Based on theme Nr.15 from Albrechtsberger's list. No.8 from Nottebohm's Chapter IV, p.84. Corrected by Albrechtsberger. Here scored for crystal and bassoon doubled by harp. Dates from about 1794-95.

#09: 2 part simple fugue in C. Based on theme Nr.16 from Albrechtsberger's list. No.9 from Nottebohm's Chapter IV, p.85. Corrected by Albrechtsberger. According to Albrechtsberger's rules, the second cadenza, which ends the second section of the fugue, has to be on III. Beethoven writes a correct cadenza in e minor, like he had done in all other fugues in the major mode. Albrechtsberger gives an interesting alternative by demonstrating that a cadenza in e phrygian would also have been possible. Here scored for kettledrum doubled by metal pad and viola doubled by ice rain. Dates from about 1794-95.

#10: 2 part simple fugue in E min. Based on theme nr.18 from the list. No.10 from Nottebohm's Chapter IV, p.86. Corrected by Albrechtsberger. Here scored for bassoon doubled by trombone and french horn doubled by strings. Dates from about 1794-95.

#11: 2 part simple fugue in F. Based on theme nr.19 from the list. No.11 from Nottebohm's Chapter IV, p.87. Corrected by Albrechtsberger. Here scored for english horn doubled by harp and clarinet doubled by pizzicato. Dates from about 1794-95.

#12: 2 part simple fugue in G. Based on theme nr.13 from the list. as edited by Seyfried, Seyfried p.171. Here scored for harpsichord and harp. Dates from about 1794-95.

#01 3 part simple fugue in G major, Hess 237 no ? No.1 from Nottebohm's chapter V, p.89. Based on theme nr.27 from Albrechtsberger's list. Here scored for flute, clarinet & bassoon. Dates from about 1794-95.

#02: 3 part simple fugue in F major. No.2 from Nottebohm's chapter V, p.91. Based on theme nr.26 from Albrechtsberger's list. Here scored for ocarina, english horn & trombone. Dates from about 1794-95.

#03: 3 part simple fugue in e minor. No.3 from Nottebohm's chapter V, p.93. Based on theme nr.11 from Albrechtsberger's list. Here scored for recorder, clarinet & organ. Dates from about 1794-95.

#04: 3 part simple fugue in D min. as edited by Seyfried, Seyfried p.175 Based on theme nr.24 from the list. Here scored for trombone, french horn and oboe. Dates from about 1794-95.

#05: 3 part simple fugue in B flat. Based on theme nr.29 from the list. as edited by Seyfried, Seyfried p.176 Here scored for bassoon, alto sax and flute. Dates from about 1794-95.

#01: 4 part simple fugue in e minor. No.1 from Nottebohm's chapter VI, p.95. Based on theme nr.11 from Albrechtsberger's list. It's the third time Beethoven chooses this theme. He probably liked it. Here we may notice a greater involvement by Beethoven. Until now he was merely following Albrechtsberger's rules. Here scored for flute, english horn, clarinet & bassoon. Dates from about 1794-95.

#03: 4 part simple fugue in C major. No.3 from Nottebohm's chapter VI, p.103. Based on theme nr.16 from Albrechtsberger's list. Not just greater involvement, but also an increased confidence by Beethoven. It's as if from now on he starts to think for himself. Perhaps the increased use of chromatism (transitory modulations) makes him see the point of counterpoint? Here scored for trumpet, english horn, french horn & trombone. Dates from about 1794-95.

#05: 4 part simple fugue in B flat. No.5 from Nottebohm's chapter VI, p.109. Based on theme nr.22 from Albrechtsberger's list. Here scored for flute, english horn, clarinet & bassoon. Dates from about 1794-95

#06: 4 part simple fugue in A min. Based on theme nr.28 from the list. as edited by Seyfried, Seyfried p.188. Here scored for violin, harpsichord, harp and trombone. Dates from about 1794-95.

#01: 4 part chorale fugue in F major. Nos.1a and 1b from Nottebohm's chapter VII, p.113. The theme is derived from the Chorale by shortening the lengths of the notes, probably by Albrechtsberger. Here scored for soprano sax, english horn, baritone sax, trombone + double bass and Choir Aahs to double the Chorale. Dates from about 1794-95.

#03: 4 part chorale fugue in G. The theme is derived from the Chorale. as edited by Seyfried, Seyfried p.215. Here scored for church organ, french horn, trumpet, organ + double bass and Choir Aahs to double the Chorale. Dates from about 1794-95.

#01: 4 part double fugue in C major. No.1 from Nottebohm's chapter XI, p.152. First theme is nr.1 from Albrechtsberger's list, the other theme is probably Beethoven's invention. Nottebohm notes a shortcoming: Beethoven limits the use of parallel voices by coupling the soprano only to the tenor, and the alto only to the bass. Applying Freudian analysis in the same way Maynard Solomon does, shouldn't we conclude from this that Beethoven disapproved of adultery? Here scored for flute, english horn, clarinet & bassoon. Dates from about 1794-95.

#02: 4 part double fugue in F major. No.2 from Nottebohm's chapter XI, p.155. First theme is nr.12 from Albrechtsberger's list, the other theme is probably Beethoven's invention. Here scored for glockenspiel, clarinet, organ & harpsichord. Dates from about 1794-95.

#03: 4 part double fugue in C major. No.3 from Nottebohm's chapter XI, p.158. This fugue is one of the very few written in "freien Satz" (free counterpoint). Both themes are probably by Beethoven himself. Together with a Prelude, also in "freien Satz", and also written for Albrechtsberger, this fugue is part of Hess 31, Prelude and Fugue in C for String Quartet. Here scored for 2 violins, viola & cello, as indicated by Beethoven. Dates from about 1794-95.

#04: 4 part double fugue in C major. No.4 from Nottebohm's chapter XI, p.167. First theme is a variant of nr.1 from Albrechtsberger's list, the second theme is Beethoven's. Wow! Beethoven discovers the sound of parallel decimes (=octave + third) here, and falls in love with it. He forgets all the rules: there are no stretto's in this fugue. Albrechtsberger doesn't bother to correct Beethoven here. Parallel decimes would become a characteristic of Beethoven's piano writing. Here scored for trumpet, english horn, french horn & trombone. Dates from about 1794-95.

 Willy Hess seems to link the sketch for this double fugue to the other fugues Beethoven
                          wrote for Albrechtsberger, it should therefore date from about 1794/95. Hess also suggests
                          that the themes of this fugue may be by Albrechtsberger. This seems less likely; in the case
                          of the other double fugues Beethoven wrote at this time, one theme was always derived
                          from the list of themes which Albrechtberger gave to his pupils, the second being either by
                          Beethoven himself or Albrechtsberger. In the case of Hess 246 neither theme is from this
                          list. More importantly, as Jan Templiner has pointed out, there are striking similarities
                          between the two themes of Hess 246, and the 'Kyrie Eleison'-double fugue from Mozart's
                          Requiem. If anything, then Beethoven has modeled the present sketch on Mozart's
                          illustrious example. 

                          The sketch for this double fugue is 76 bars long and is written on two sides of a single sheet
                          of paper. Possibly the sketch was originally longer. 

                          The exposition is 24 bars long, and has a beautiful X shape in which the two themes cross
                          each other: 

                          sop: AAAAA           BBBB
                          alt:      AAAAA BBBB
                          ten:       BBBBAAAAA
                          bas:  BBBB          AAAAA

                          (AAAAA denoting the first theme, BBBB the second). 

                          From this point onwards, only one voice has been written down. First there follows a 3 bar
                          short divertimento, with material that is not related to the themes. In bar 33 the first theme
                          appears in the bass, but breaks off after 4 bars when the sopranos take it over: Beethoven
                          clearly intended a stretto over the first theme here. In bar 42 a slightly extended version of
                          the theme appears in tenors. In bar 70 the theme in the sopranos has a different
                          continuation, modulating to the subdominant, B flat. 

                          On the completion:
                          Only a minimum of free counterpoint has been added to the exposition, in order not to blur
                          its X-shape. For the rest of the sketch a second voice could always easily be derived from
                          the second theme. The suggested stretto over the first theme in bar 33 has been worked
                          out. Bar 48 gave the opportunity for what Nottebohm coined 'the artful doubling of the
                          voices', that's to say, both themes being simultaneously doubled in parallel decimes (this
                          trick occurs in many of Beethoven's double-fugues of this time, and may have been an
                          Albrechtsberger speciality). In bars 54 and 60 some more simple strettos over the first
                          theme have been included. 

                          Given the incomplete state of the sketch, it was impossible to round off the fugue without
                          adding new ideas. This may be regrettable for those who are concerned about the
                          authenticity, but it couldn't be helped. Luckily, it turned out to be possible to write a double
                          stretto over both themes, with the following layout: 

                          sop:         B B B B B B A A A A A A A B B B B
                          alt:       A A A A A A A   B B B B B A A A A A
                          ten: A A A A A A A B B B B B B   B B B B B B
                          bas:   B B B B B A A A A A A A,A A A A A A A

                          and which starts at the 2 min. 5 sec. mark of the midi. It should be pointed out that double
                          strettos are missing in the other fugues written for Albrechtsberger, although they would
                          have been the logical culmination of the education. 

                          Some more 'artful doubling of the voices' to re-establish the home key of F major
                          concludes the fugue. 

                          Completion of the Hess 246 sketch by Willem. World premiere for the Unheard Beethoven
                          site. 

                          With sincere thanks to the Beethoven-Haus in Bonn, which provided us with a copy of the
                          manuscript in Beethoven's original handwriting.