Anhang 4 Sonata in B flat major for piano and flute.
This work is not by Beethoven but a transcription of the quartet Op. 30 number 3 in B flat major by Pavel Vranický (Paul Wranitzky)
This work is not by Beethoven, but rather a transcription of the Quartet Op. 30 No. 3 in B-flat major by Pavel Vranický (also known by the Germanized name Paul Wranitzky).
? Critical Commentary
As previously noted: a handwritten copy with numerous deletions, additions, and corrections is preserved at the Deutsche Staatsbibliothek in Berlin. It was first published in Berlin (Zimmermann, 1906) in a rather arbitrary revision by Ary van Leeuwen, and later republished in Leipzig (Bruckner Verlag, late 1951) in a more faithful critical edition by Willy Hess, currently available through the Beethoven Music Research Center. Although there are arguments supporting its authenticity, it cannot be definitively attributed to Beethoven.
? Historical Context:
This manuscript, found among Beethoven’s estate and marked by numerous deletions, is dated to around 1790. It was published by flautist Ary van Leeuwen through Zimmermann Verlag in Leipzig and Berlin in 1906, with minor cuts to the first movement and changes in musical notation. Fortunately, in 1951 Willy Hess published the complete version through Peters Verlag in Leipzig.
✍️ Attribution and Controversy.
At the top of the manuscript appears the inscription “Sonata di Bethoe.” The misspelling of the name and the modest stylistic depth of the score, according to Hugo Riemann and Jacques-Gabriel Prod’homme, are the main reasons for considering it of uncertain authorship. In favor of the Beethoven hypothesis is the fact that during his Bonn years, Beethoven often wrote his name with a single “e”; however, the rest of the misspelling remains unexplained. Moreover, this would be the only non-original work that Beethoven preserved among his personal papers. This fact, already highlighted by Willy Hess, is considered the most compelling argument for attributing the work to Beethoven. In truth—and despite its past and present detractors—the quality of the composition is not as poor as it has been judged, and as many flautists still insist today. Perhaps this judgment is influenced more by the uncertainty of Beethoven’s authorship than by an objective analysis of its musical value, which reveals a certain elegance and charm, especially in the third movement, the “Largo,” steeped in a dreamlike atmosphere—without diminishing the rest of the Sonata.
? Recordings and Correct Attribution: Although recordings exist that attribute the work to Beethoven, there is no definitive evidence of authorship. Therefore, with great regret, it must be listed among works of doubtful attribution. The following statements must be corrected with the accurate attribution to Paul Wranitzky (Quartet in B-flat major Op. 30 No. 3). All quartets are presented on this page in world premiere recordings. The correct attribution (August 2023) is the exclusive discovery of Daniel Bernhardsson, to whom we extend our deepest thanks.
? Biography of Pavel Vranický (Paul Wranitzky)
Pavel Vranický, Germanized as Paul Wranitzky, with variants Wraniczky and Wranizky (Nová Říše, December 30, 1756 – Vienna, September 26, 1808), was a Czech composer and violinist, brother of Anton Wranitzky.
Originally destined for the priesthood, Wranitzky first studied at the Premonstratensian monastery in Nová Říše (German: Neureisch), a small town in Moravia, and later in Jihlava (Iglau) in 1770, where he received instruction in singing, organ, violin, and viola. In Olomouc, he began theological studies while simultaneously emerging as a violinist.
Wranitzky was regarded by his contemporaries as a magnificent violinist and a respected conductor, so much so that Haydn and Beethoven preferred him to conduct their orchestral works. For example, Haydn insisted on his direction for performances of The Creation at the Akademie der Tonkünstler-Sozietät in 1799 and 1800. At Beethoven’s initiative, Wranitzky conducted the premiere of Beethoven’s First Symphony on April 2, 1800.
Although his first work dates to 1781, Wranitzky did not gain recognition as a composer until 1786–1788. He composed 51 symphonies, most in four movements following the classical model. Among these, the Grande symphonie caractéristique pour la paix avec la République françoise Op. 31 stands out, which, after its performance on December 20, 1797, fell out of favor due to its politically provocative title.
He also published 56 string quartets, mostly based on the Parisian three-movement model, in which he explored the emerging Romantic style. Wranitzky’s music quickly fell into obscurity after his death. As Fétis noted:
“Wranitzky’s music was fashionable when it was new, thanks to its natural melodies and brilliant style. He handled the orchestra well, especially in his symphonies. I recall that in my youth his works compared very favorably with those of Haydn. Their premature abandonment today has surprised me”.
(form Wikipedia)
