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BEETHOVEN'S WORKS BY HESS NUMBERS 51-100

Compiled by Gary D. Evans


Last Updated: March 24, 2019 6:57 PM

FOR DETAILED INFORMATION SEE:

#1-50 - #51-100
#101-150 - #151-200
#201-250 - #251-300
#301-334

For an explanation of the Hess numbering system
& linked audio files see: http://www.unheardbeethoven.org/search/

_________________________________________________________

NOTE: Information here were, in some cases copied verbatum,
from a great resource: http://www.unheardbeethoven.org.
There, you can explore hundreds of midi files that allow
first time hearing of heretofore unheard works. All of the
linked mp3 and midi files here are from that site.



Hess
TITLE - INFORMATION
DATE Begun
DATE Finished
MISC. INFO
52
 Piano Sonata 'Nr. 15' in C    
57
 Bagatelle in C
Found in sketches for op126 Bagatelles - draft was in a form nearly ready for perf.
58
 Piano Exercise in Bb major and minor
Published in Nottebohm, Beethoveniana II (1887) pp. 361-2.
59
 Piano Exercise in C
Published in Nottebohm, Beethoveniana II (1887) pp. 361-2; Hess Supp. IX.
60
 Draft in A for Piano
This intriguing little piece of 19 measures is in a rollicking 6/8, broken up by periodic fermata. The tempi changes are not indicated in the text, but seemed natural. The Allemande for Piano WoO 81, as well as Hess 60 and 61 and Biamonti Nrs. 268-284 are all found on two sketch sheets now kept in the Beethoven-Archiv in Bonn. The quantity of diverse material that can be crowded into such a small space is truly remarkable!
63
 Kaplied, by Schubart, arranged by Beethoven This arrangement is mainly of interest because it's one of the very few cases in which Beethoven wrote down his own fingering. Published in Hess Supp.Vol.IX, p.11.
64
 Fugue in C
65
 Little Concert Finale in C, (Arr of coda & finale of 3'd Piano Concerto, op. 37) This Little Concert Finale is an arrangement for piano solo of the last 56 bars of the Rondo of the Third Piano Concerto in C minor, opus 37. This arrangement dates from 1820, some 18 years after the Concerto was written. Beethoven has written down his own fingering here. Published in Hess Supp.Vol.IX, p.27.
66
 Allegretto in C Minor It is in fact another version of WoO 53. The main differences with WoO 53 are in the 2nd phrase of the trio and in the coda. In bar 26 a natural indicates a deliberate clash between Eb and D natural; the equivalent bar after the trio (bar 116) does have a Db.
67
 Two German Dances in F Major and F Minor The 1st one, in F major, 3/8 time, is almost comical in mood. The 2nd one, in f, 3/4 time, touches the deeper regions. The indication "Nr.1 D.C." at the end of the one in F minor makes it clear that these two dances belong together, the 2nd one functioning as a trio. (Published in Hess Supp.Vol.IX, p.26)
68
 Laendler in C Minor
This dark, gloomy little piece. Although it is a dance in theory, it seems to invite to suicide rather than to dance. (Published in Hess Supp.Vol.IX, p.24).
69
 Allegreeto in c This Allegretto is in 3 sections: A - B - A'. After the gentle melody of the middle section in C major, the varied repetition of the A section gives us a real Beethovenian explosion. In a short, dramatic coda the main motif is echoed alternatively in the bass and discant while the music dies down. Published in Hess Supp.Vol.IX, p.19. Rev 1822
72
 Theme with variation in A
One may ask, why only one variation? The answer is in the theme, which doesn't modulate at all, not even to the dominant. This harmonic simplicity is of course of the essence for the purity of theme, however, the harmonic basis probably wouldn't sustain more than just the one variation. Published in Hess Supp.Vol.IX, p.24.
73
 Bagatelle in C Major
This delightful little piece already points, with its broken chords over two hands, towards Chopin's prelude op.28 nr.1 in the same key. The repeat of the first 8 bars at the end is not indicated in the score. Published in Hess Supp.Vol.IX, p.22.
74
 Bagatelle in Eb Major
This tune, in the manner of a folk song, is very hummable! That Beethoven could discard a melody like this without any problem is a clear indication for the level of his melodic invention. Published in Hess Supp.Vol.IX, p.22.
76
 Sketches and fragments for Cadenzas for Piano Concerto op 15

The Concerto #1 in C actually postdates Concerto # 2 in Bb. However, Beethoven was apparently working on the concerto in C as early as 1795. During 1795 and through the next 3 years, Beethoven took up the problem of a cadenza for the 1st movement on several occasions - little overlap among this work, nor is there much overlap with the 3 cadenzas which Beethoven wrote in 1809 (most likely for Archduke Rudolph's use).

The fragments come in 4 discrete chunks. (Sources: 1) Fischoff Miscellany, page 30 (Berlin Staatsbibliothek, transcribed by Douglas Johnson) (1795); 2) Kafka Miscellany page 72 (British Museum, transcribed by Joseph Kerman, et al.) (1795-99); 3) Kafka Miscellany page 138 (Ibid.) (1796-98); and 4) Grasnick Sketchbook I page 2 (Berlin Staatsbibliothek, transcribed by Douglas Johnson) (mid-1798). (This order may be incorrect; the only thing that seems certain is that fragment 1 is not contemporaneous with fragment 4.

The 2nd of these cadenzas starts with a striking harmonic idea, which shows that Beethoven was sometimes more adventurous in his sketches than in his finished works: both left and right hands do have triads, which behave in a contrapuntal way. This results in dissonating chords of 6 different notes on the 1st counts of the opening phrase; a boldness worthy of the Eroica! After a middle section, derived from bars 216-224 and 431-439 of the 1st movement, there follows a light-hearted 2-part counterpoint, worked out as a sequence in the manner of J.S.Bach.

79
 Sketches and Fragments for Cadenza to Piano Concerto op 19 These fragments are all found in the Kafka Miscellany in the British Museum. There are 3 principal fragments which, according to Joseph Kerman, belong to 2 different cadenzas. The 1st & earlier cadenza is found on Kafka pages 89 & 46; they are both on the same kind of paper which was used in 1792 & 1793, and likely contemporaneous. The other cadenza is found on Kafka 45. The 3rd chunk is found on Kafka 45, and as Kerman notes, is probably for a distinct cadenza. It is on a different paper which has been dated to about 1793-1796.
81
 Cadenza to 1st movement of Concerto #4
This cadenza and the two much shorter ones Hess 82 and 83 were part of the Bodmer collection, Mh 16, 17 and 18.
82
 Cadenza "senza misura" to the Rondo of Concerto #4
83
 Very brief cadenza to the Rondo for Piano Concerto #4
87
 Piano arrangement of March in Bb (WoO 29) for 6 wind instruments This arrangement contemporary with the writing of the original version of this charming little march for 2 clarinets, 2 horns and 2 bassoon. Neither version was published during Beethoven's lifetime. Another version of this same march appears in the "Grenadiersmarsch" for mechanical clock, Hess 107, composed by Haydn (1st part) and Beethoven (transition and 2nd part).
88
 Piano arrangement of Minuet in Ab (Hess 33) for string quartet While Hess lists this piano minuet as a piano arrangement, there exists a "Mineur" for the piano version which apparently never existed for the string quartet version of this little dance. Very likely the piano version was the original and the string quartet version was an attempt at arranging a simple piece for a quartet. The minuet is found in an autograph in the Paris Conservatory and is published in Hess Supp. vol VIII; the Mineur, which states that it is "for the minuet in A-flat" is found in the British Museum in the Kafka Miscellany.
89
 Piano arrangement of Ritterballett (WoO 1)
This arrangement of the "Knightly Ballet" is presumably contemporary with the orchestral version, which was performed March 6, 1791 at a ball held by Count Waldstein. Beethoven let Waldstein treat the piece as if Waldstein himself had written it. The ballet consists of eight parts: 1. March; 2. German Song; 3. Hunting Song; 4. Love Song; 5. War Song; 6. Drinking Song "Mihi est propositum"; 7. Dance Song; and 8. Coda. The German Song also reappears between movements, serving as an interlude much like the Promenade in Mussorgsky's Pictures at an Exhibition. According to Thayer, there were once vocal elements, which are now lost (Hess 116). No trace of those vocal elements appears in either score.
90
 Piano arrangement of Die Geschöpfe des Prometheus (op. 43) - Act 1

This transcription by Beethoven was published in 1801. The transcription quite faithfully follows the orchestral work, though with very different effects. Act One of the ballet--even including the overture--is much shorter than the second act. Act One concerns the creation of the first man and woman from dust by Prometheus; the second act concerns the education of these creatures.

The theatre-bill for the first performance of March 28, 1801, describes the action as follows: This allegorical ballet is based on the myth of Prometheus. The Greek philosophers, who knew of him, elucidate the story in the following manner--they depict Prometheus as a lofty spirit who, finding the human beings of his time in a state of ignorance, refined them through art and knowledge and gave them laws of right conduct. In accordance with this source, the ballet presents two animated statues who, by the power of harmony, are made susceptible to all the passions of human existence. Prometheus takes them to Parnassus, to receive instruction from Apollo, god of the arts, who commands Amphion, Arion and Orpheus to teach them music, Melpomene and Thalia tragedy and comedy. Terpsichore aids Pan who introduces them to the Pastoral Dance which he has invented, and from Bacchus they learn invented, and from Baccus they learn his invention, the Heroic Dance. The music is by Herr van Beethoven. Ritorni wrote a commentary on Vigano's ballets, and he gives the following summary (which incidentally agrees with occasional stage directions LvB wrote in the sketches in Italian and German): Overture: Pursued by the mighty wrath of Heaven, Prometheus enters, running through the forest towards his two clay-figures, to whose hearts he hastily applies the celestial fire. Act 1: Nr. 1 At the touch of the heavenly flame the statues acquire life and motion, and become man and woman. Nr. 2 Prometheus, who has fallen exhausted onto a rock, recovers and is delighted at his success, but realizes that neither of the statues have reason for feeling. His loving gestures make no impression and they apathetically sink to the ground beneath a tree. Nr. 3 The statues become hostile and moving around clumsily, try to escape from Prometheus, who finally seizes them and drags them away. Act 2: The scene is Mount Parnassus where Apollo is attended by the Muses, the Graces, Bacchus with his rout and Orpheus, with Amphion and Arion (a bold anachronism, since these three were not yet born). Nr. 4 Prometheus appears and presents his children to Apollo in the hope that the god will instruct them in the arts and sciences. Nr. 5 At a sign from Apollo, Euterpe begins to play, supported by Amphion; hearing their melodies, the youthful forms (i.e., the statues) show signs of responding to music and to the beauties of nature around them. Arion and Orpheus join in the consert and finally Apollo himself (presumably the god is a cellist). Nr. 6 The statues, now awakened to human consciousness, move around animatedly in their exceitement and joy; when they recognize Prometheus, they run to embrace him. Nr. 7 Terpsichore enters with the Graces, then Bacchus with his train. Nr. 8 This is the warlike Bacchic dance. Aroused by the sight of weapons, the statues sieze them and are carried away by the desire for military glory. As they try to join in the dance, Melpomene (the Muse of Tragedy) intervenes. Nr. 9 (subtitled in Beethoven's sketches "La muse tragique") Melpomene takes up a dagger and by mimed actions reveals to the new beings the harsh truth that every human life ends in death. As they recoil in horror, she rushes on Prometheus and stabs him, as punishment for his impiety in exposing his creations to the fate of mortality. In the sketch, Beethoven wrote over the final pp chords the words "Promethe mort" followed by "Les enfants pleurent." Nr. 10 Presumably this is the rustic dance, led by Pan, during which Prometheus returns to life, while Thalia (the Muse of Comedy)holds masks before the weeping faces of the statues. There is nothing in the surviving evidence to account for the sequence of movements nos. 11-14 except that no. 12 is marked solo di Gioja and no. 14 solo della Cassentini. Gaetano Gioja was a famous dancer who himself produced ballets, and Cassentini was a ballerina, so these numbers were probably solos for the male and female statues. Nr. 15 This scene, with three sections is marked solo di Vigano. Surely the maitre de ballet would himself take the principal role and this penultimate number can be identified as the solo allotted to Prometheus. Nr. 16 The grand Finale is a rondo on the theme used in the op. 35 piano variations and as the basis of the Eroica finale several years later. Although the chronology has been disputed, it seems that the first appearance of this theme was as nr. 7 of the 12 Contredanses, of which nr. 11 in G major is also used as an episode in the Prometheus rondo. Thayer notes that the piano version presented here, Hess 90, was originally published by Artaria in 1801 as op. 24. That number is now allocated to the Violin Sonata in F (the "Spring" Sonata).

91
 Arrangment of Opferlied (op. 121b) for soprano, choir and piano

Piano setting of Matthisson's poem; published in 1825 by Schott, along with the standard version for soprano & orchestra. 

  Opferlied
  Die Flamme lodert!
  Milder  Schein durchglaenzt
  den duestern Eichenhain,
  und Weihrauchduefte wallen.

  O neig ein gnaedig Ohr zu mir,
  und lass des Juenglings Opfer Dir,
  du Hoechster wohlgefallen.

  Sei stets der Freiheit
  Wehr und  Schild!
  Dein Lebensgeist durchatme mild
  Luft, Erde, Feu'r und Fluten.

  Gib mir, als Juengling und als Greis,
  den vaeterlichen Herd, o Zeus,
  das Schoene zu dem Guten.

( "Das Schöne zu dem Guten" was a favorite line of Beethoven's, which he used in
several of his canons.)
92
 Bundeslied op 122 for voice and piano

This piano setting of Goethe's poem for two voices, chorus and piano was published in 1825 by Schott, along with the standard version for soprano, chorus and six wind instruments. 

1.  In allen guten Stunden
     erhoeht von Lieb und Wein,
     soll dieses Lied verbunden
     von uns gesungen sein!

     Uns haelt der Gott zusammen,
     der uns hierher gebracht,
     erneuert unsre Flammen,
     er hat sie angefacht.

 Choir:
     Uns haelt der Gott zusammen,
     der uns hierher gebracht,
     erneuert unsre Flammen,
     er hat sie angefacht.

2.  So gluehet froehlich heute,
     seid recht von Herzen eins!
     Auf, trinkt erneuert Freude
     dies Glas des edlen Weins!

     Auf, in der holden Stunde
     stosst an und kuesset treu,
     bei jedem neuen Bunde,
     die alten wieder neu.

Choir:
     Auf, in der holden Stunde
     stosst an und kuesset treu,
     bei jedem neuen Bunde,
     die alten wieder neu.

3.  Wer lebt in unserm Kreise,
     und lebt nicht selig drin?
     Geniesst die freie Weise
     und treuen Brudersinn!

     So bleibt durch alle Zeiten
     Herz Herzen zugekehrt;
     von keinen Kleinigkeiten
     wird unser Bund gestoert.

4.  Uns hat ein Gott gesegnet
     mit freien Lebensblick,
     und Alles, was begegnet
     erneuert unser Glueck.

     Durch Grillen nicht gedraenget,
     verknickt sich keine Lust;
     durch Zieren nicht geenget,
     schlaegt freier unsre Brust.

5.  Mit jedem Schritt wird weiter
     die rasche Lebensbahn,
     und heiter, immer heiter
     steigt unser Blick hinan.

     Uns wird es nimmer bange
     wenn Alles steigt und faellt,
     und bleibe lange, lange!
     auf ewig so gesellt,
     [ja auf ewig, auf ewig so gesellt!]

Choir:
    Uns wird es nimmer bange
    wenn Alles steigt und faellt,
    und bleibe lange, lange!
    auf ewig so gesellt,
    [ja auf ewig, auf ewig so gesellt!]

                                              J.W. v. Goethe.

 Fraternal Song

1.  In every good hour,
     Heightened by love and wine,
     Should this song,
     Be sung by us united.

     We are bound together by the God
     Who brought us here,
     Renewing our flames
     That He ignited.

2.  So glow happily today
     Be one with sincere hearts!
     Up, drink joy,
     This glass of true wine.

     Up, in this beautiful hour
     Clink and kiss loyally,
     With every new bond
     The old one new again!

3.  Who lives in our circle,
     And doesn't live happily?
     Enjoy the free tune
     And faithful brotherhood.

     Thus stays through all times
     Heart directed towards hearts;
     By no petty things
      Is our bond to be disturbed.

4.  We are blessed by a God,
     With a free view towards life,
     And everything we encounter
     Renews our happiness.

     Unopposed by madmen's thoughts, 
     Our joy uncrushed,
     Nor harnessed by pressures, 
     Our hearts beat freely.

5.  With every step widens
      Life's fast road.
      And happily, more and more happily
      Rises our view upwards.

     We will not be afraid
     When everything rises and falls
     And remain long, long! 
     Forever thus accompanied!

          Translation by Jan Templiner.
93
 2 Simplified keyboard version of "Freudvoll und Leidvoll', Song from Egmont op. 84, in A, for Voice and Piano.
There are 2 versions in A, one of which is somewhat more ornate than the other. The vocal lines are similar, but not identical between these two versions. Hess 94 is another versions in G and Hess 95 is in F. The text (Goethe) is as follows: Freudvoll und leidvoll, gedankenvoll sein, Langen und bangen in schwebender Pein, Himmelhoch jauchzend, zum Tode betruebt, Glucklich allein ist die Seele, die liebt, Gluecklich allen ist die Seele, die Seele, die liebt!
94
 Freudvoll und Leidvoll in G
Another arrangement of Klaerchen's song from Egmont (op.84) for voice and piano. It is transposed from the original A major to G, and the piano part is kept rudimentary, or not written out in full. The comparison of this sketch with the other versions gives us the opportunity to peep over the Master's shoulder while he's at work, and see which notes he considered to be essential. No matter how hastily this sketch was jotted down, even here we see the creative mind at work: in bars 14-16 the eighth notes have been replaced by two sixteenth (giving "schwebender Pein" more urgency) and at bars 33-35 there occurs a sixteenth triplet accompaniment.
95
 Freudvoll und Leidvoll in F
96
 Symphony #7 op92 for Piano - fragment Beethoven probably began this transcription about the time that the symphony was premiered. Beethoven only completed the first 46 bars, however; the last portion is fragmentary and the balance of the page is blank. However, a piano version of the complete symphony was published by Steiner in 1816, and was referred to in correspondence with Steiner of Feb. 1, 1815. These transcriptions were not, however, Beethoven's own (though he stated that he had made some corrections in a letter of June 11, 1816); no doubt the composer wearied of the task of transcription very quickly and arranged for someone else to do the transcription for piano. That transcription is also mentioned in an November 22, 1815 letter to Robert Birchall in London arranging for publication of the transcription in England. The transcription was referred to again in a letter of January 16, 1816 to Ferdinand Ries, also in London, instructing him that "The pianoforte arrangement of the Symphony in A must not, however, appear till the month of June; the publisher here cannot do so earlier. Dear good Ries, let Mr. Brichall know this at once." The transcription was still not published in Autumn; a letter of October 1, 1816 to Brichall advises of the dedication of the transcription (the Empress of Russia), and assigning the transcription opus number 98 (now occupied by the song cycle An die Ferne Geliebte).
97
 Piano arrangement of Wellingtons Sieg (op.91)
This is certainly the strangest of Beethoven's arrangements for piano, since it also calls for two cannon to be fired throughout the first (Battle) portion of the piece. In this midi, the English forces are on the right channel; the French are on the left. As the battle progresses, the English march toward and take the center, forcing the French further left and eventually completely off the soundstage. The piece was wildly popular in its time as anti-Napoleonic feeling increased in Europe. This "symphony" (as Beethoven referred to it in letters) is easily the most clearly descriptive piece Beethoven ever wrote. The transcription ends, as does the orchestral version, with a fugato treatment of "God Save the King." Published 1816 by Steiner in Vienna.
98
 Scherzo from the Piano Trio op 1 #2 for Piano (fragment) Arrangement in piano score found in the Kafka Miscellany in the British Museum, pages 126r and 126v.
99
 Piano arrangement of Military March in F (WoO 18) This march has also been published under the erroneous name "Yorckscher March". The autograph is in the Paris Conservatory of Music, MS 41 in Unger's Catalog in Neues Beethoven-Jahrbuch VI, Braunschweig 1935, pp. 99,101.
100
 Piano version of 12 German Dances for Orchestra WoO 8
This piano version of these 12 German dances is contemporary with the orchestral version, which was commissioned for the winter 1795 balls held in the small Redoutensaal in Vienna. In Beethoven's lifetime, only this piano version was published (Artaria, 1795). Beethoven also wrote a version for 2 violins & bass, which is now lost. These dances are mostly in 2 parts of 8 measures each, with a trio in 2 parts of 8 measures each, though the 1st dance lacks a trio. The set also includes a lengthy coda based upon the themes of the 1st & last dances.