Anhang 12 – “Pariser Einzugsmarsch”, Reduction for Piano

This march, catalogued as Hess (A) 25 – Kinsky Halm (A) 12, was originally included in the collection entitled “Marches with Full Turkish Music for the Prussian Army”, published by Schlesinger in 1818–1819, without attribution to any composer. A piano reduction of the march appeared later, around 1860, issued by Schuberth in Leipzig, falsely bearing the name Beethoven.

Today, this composition is recognized as the work of Johann Heinrich Walch. (See next entry in the Anhang catalogue.) Composed before 1800, the Pariser Einzugsmarsch (Paris Entry March) is catalogued as Armeemarschsammlung AM II, 38. It was performed on 31 March 1814 to celebrate the triumphant entry of the allied forces into Paris, witnessed by:

• Emperor Francis I of Austria
• Tsar Alexander I of Russia
• King Frederick William III of Prussia

The title “Pariser Einzugsmarsch” helped cement its symbolic role in German-speaking regions, especially during the German Empire, Weimar Republic, and even Nazi Germany.

Publication and Attribution History:

• The march was first printed in 1818–1819 within the collection “Marches with Full Turkish Music for the Prussian Army”, published by Schlesinger, without attribution.
• A piano reduction was later published in circa 1860 by Schuberth in Leipzig, falsely bearing Beethoven’s name.
• Today, scholarly consensus attributes the composition to Johann Heinrich Walch, correcting the longstanding misidentification.

 International Dissemination:

• In Russia, the march has been part of the traditional military repertoire since its premiere in 1814.
• In Sweden, various ceremonial marches by Walch—such as Reveille and Zapfenstreich—are still performed at the Royal Palace in Stockholm.
• In Germany, the march was controversially revived in 1940 during the entry of German troops into Paris, echoing the 1814 event.