WoO 45, Twelve Variations in G major for piano and cello on a theme from Handel’s Judas Maccabaeus, dedicated to Princess Maria Christiane Fürstin von Lichnowsky, née Countess Thun-Hohenstein, composed in 1796 and published in Vienna by Artaria in the summer or autumn of 1797. GA No. 110 (Series 13 No. 6) – B. 157 – KH. (WoO)45 – L. IV, p. 317/5/A – N. p. 145 – P. 85 – T. 118

Official Title: WoO 45 Zwölf Variationen (G-Dur) über ein Thema aus dem Oratorium „Judas Maccabaeus“ von Georg Friedrich Händel für Klavier und Violoncello Dedication: Maria Christiane Fürstin von Lichnowsky NGA V/3 AGA 110 = Series 13/6

The original manuscript is preserved in the archives of the Gesellschaft der Musikfreunde in Vienna. The theme is drawn from the celebratory chorus “See the conqu’ring hero comes” in the third part of Handel’s oratorio—a simple melody of festive serenity, presented by the two instruments with a sonorous and effective texture. The eighth variation (predominantly pianistic) and the ninth (expressively balanced between the two instruments) may evoke, in harmony with the biblical subject, the image of two choirs: one alternately impetuous and imploring, the other resting in the superimposition and reciprocal resonance of voices in a prayerful confidence. The eleventh variation (Adagio, 4/4) expands and richly embellishes the melody, with each phrase introduced by the piano (some harp-like effects suggest biblical celebrations) and echoed with analogous figurations by the cello.

The variations were composed in 1796, likely in Berlin. The original edition in separate parts appeared in the summer or autumn of 1797, published by Artaria in Vienna. Beethoven used a type of paper for the autograph score that he had acquired during his 1796 tour, which took him to Prague, Dresden, Leipzig, and in May/June to Berlin. Given that the piece is a duet with cello, Douglas Johnson suspects a direct connection with Beethoven’s stay in Berlin, as he also composed the Op. 5 sonatas for the court cellist Jean Louis Duport during that time (Johnson/Fischhof Vol. 1, pp. 166–171; Johnson/Tour 1796, pp. 25, 28). Most of the other compositions whose autographs appear on the same document were written only after Beethoven’s return to Vienna.

Beethoven became acquainted with Handel’s Judas Maccabaeus on 15 April 1794 during a private performance in Vienna organized by Baron van Swieten, whose wife was the dedicatee of this set of variations, Princess Lichnowsky.

In Berlin, Beethoven likely revisited the work during his two visits to the Singakademie in the winter of 1795/96 (Johnson/Tour 1796, pp. 36–40). The exact date of the original edition bearing the number 710 has not been determined. However, it is probable that the edition was published in the summer or autumn of 1797, as editorial items from Artaria with nearby plate numbers (PN 703–705, 708, 709, 715–717, 719, 720) were advertised in the Wiener Zeitung on 5 October 1797.

Some additions and corrections relative to the fair copy manuscript may suggest a revision by Beethoven at the time of printing, though this hypothesis cannot be confirmed (see Dufner/NGA V/3 kb, p. 51f). A copy of the Mollo edition in Vienna, listed in their Ersten Nachtrag neuer Musikalien of 1804/05 (p. 213) and in WH II (p. 697), has not yet been located (only one copy of the original edition bearing the Mollo label is known).

Georg Friedrich Handel originally composed the chorus “See the Conqu’ring Hero Comes” for his oratorio Joshua, premiered on 9 March 1748, later incorporating it into Judas Maccabaeus. The title of Beethoven’s original edition indicates that he was familiar with the version from Judas Maccabaeus, not from Joshua.

Lost Sketches. Score: A-Wgm, A 2. Likely a corrected version (Maaß/Wo045und46), serving as the model for the first edition. Dating: 1796 (Johnson/Fischhof Vol. 1, p. 169). Title on folio 1 recto. Header title: “Varations [!] par L. v. Beethoven.” Above the first brace: “thema / Con Variazi- / oni.” Fifteen folios, thirty pages of music from folio 1 recto to folio 15 verso. Dimensions: 24 × 30.5 cm, twelve staves per page.

First Edition: 1797 (Summer/Autumn). Vienna, Artaria et Comp., VN/PN 710. Title: “XII VARIATIONS / Pour le Clavecin ou Piano-Forte / avec un Violoncelle Obligé / Sur un Thème dans L’Oratoire Judas Macabee / Composées et Dediées à Son Altesse Madame La Princesse / de Lichnowsky née Comtesse de Thunn. / Par / Louis van Beethoven / N° [hs.: 5] / A Vienne chez Artaria et Comp.”