Anhang 9
Nine German Dances for piano four hands.
(by Johann Baptist Wanhal)
Of the 138 Opus numbers in the Beethovenian catalogue, no fewer than eighty‑four involve the piano. Obviously, it is not so much the numerical quantity as the importance the instrument assumes as an expressive medium within the arc of the master of Bonn’s musical production. The composer entrusted to the piano his own musical growth, from his earliest beginnings to the heights of the late sonatas and the Diabelli Variations. It will therefore come as a surprise that Beethoven showed but scant interest in the piano four hands. Only a few years earlier Mozart had dedicated to this form such works as the Sonatas K.497, K.501, K.521 and K.594, whose refinement of writing, timbral interplay between the two parts, and natural exchange of roles enact on the keyboard an almost “theatrical” sonic game, the instrument becoming a shared operatic stage.
Contemporaneously with Beethoven, Schubert regarded the piano four hands as an extraordinarily expressive vehicle for his compositions — witness the admirable Fantasia D 940 and the Grand Duo D 812. Consulting the meagre Beethovenian catalogue pertaining to this genre, we encounter only a single occasional sonata bearing an Opus number: an easy, two‑movement sonata of little interest, Opus 6, from 1797, whose first‑movement theme anticipates none other than the theme of the Fifth Symphony. This is followed by the Three Marches Opus 45, from 1802, born under the impulse of a social diversion, and finally by the transcription Opus 134 of the Grosse Fuge Opus 133, which received an Opus number only owing to the composer’s dissatisfaction with the previous transcriber, the musician Anton Halm — much appreciated by Beethoven, yet not adequate to the task.
Leaving aside the Sketches of a Tempo di Quintetto for strings WoO 62, reduced by Diabelli, there remain only the Eight Variations on a Theme by Count Waldstein, WoO 67, and the particular Lied Ich denke dein with Variations (2), WoO 74 — Viennese works, yet Bonnese in pectore and born of fraternal convivial friendship. The composer drafted no further works for this ensemble. A single fragment, unfortunately very limited, bears explicitly the title “Sonata for piano four hands”: the fragile and slender Biamonti 798, from 1824. Two doubtful works share the Anhang (appendix) of the Beethovenian corpus: the Three Pieces — Gavotta, Allegro, Marzia (marcia) lugubre, Anhang 8, certainly attributable to the ballet La ritrovata figlia di Ottone II by Leopold A. Kozeluch, a solid and prolific Bohemian composer; and the Nine German Dances, Anhang 9, the subject of this study.
These German Dances are found in the notebook of an amateur, published around the year 1815. This notebook is preserved in the Preussische Staatsbibliothek under the manuscript number Mus.Ms.38033. The name of the composer is omitted, yet the manuscript contains, alongside numerous insignificant works, other pieces by famous authors such as Beethoven, Fasch, Mozart, Steibelt, and Vanhal himself.
Up to the present day (November 2024) it has not been possible to obtain concrete proof of the authorship of these dances; only the discovery by Professor Antonietta Cappelli of the printed parts has finally revealed their correct attribution.
A copy of the first book “Pièces faciles for Piano 4‑Hands” by Johann Baptist Vanhal, Hamburg Cranz edition, preserved at the Hamburg State and University Library and dated 1820, contains the first six dances of the Anhang 9 collection, erroneously attributed to Beethoven. At this point — since the subsequent volume(s) are untraceable — one would be inclined to affirm that the remaining three dances were probably also written by Vanhal.
As for performance, our text is a faithful reproduction of the original manuscript, including the dynamic indications. As mentioned, the nine pieces have been transmitted anonymously. They may be found in a music notebook from circa 1815 and later, handwritten, containing first a composition on pages 9 and 10, likewise attributed to Beethoven, namely the Sonatina Anhang 5 No. 1. These dances follow, written from page 14 to page 19, and are in turn followed by a Polonaise by Dupuy for piano two hands.
The first edition under Beethoven’s name appeared in 1939: Leipzig, C. F. Peters, VN / PN 11429, with the title: „BEETHOVEN / DEUTSCHE TÄNZE / FÜR KLAVIER ZU 4 HÄNDEN / ZUM ERSTEN MALE HERAUSGEGEBEN VON / CARL BITTNER / […] / C. F. PETERS LEIPZIG / 11429“. “Berlin, autumn 1939”. On the cover: Peters Edition No. 4399.
The editor Carl Bittner „glaubte es wagen zu dürfen, diese Tänze unter dem Namen Beethovens zur Diskussion zu stellen“. As justification, he cites „die höchst persönliche, die überlegene Hand eines Meisters zeigende Schreibweise, die sich vor allem in einer kraftvollen, Beethoven‑sche Züge verratenden Melodik und Harmonik kundgibt“ (“the highly personal notation, revealing the superior hand of a master, manifesting itself above all in a powerful melody and harmony betraying Beethoven‑like traits”).
It is worth noting that in the notebook Beethoven’s birth and death dates are erroneous: “1772–1828”.
A bound manuscript of 26 leaves, for a total of 52 pages, recto and verso; three blank pages: 34 verso, 46 verso, and 52 verso. The same hand appears to write the manuscript up to page 33 recto; thereafter a new handwriting replaces the first from page 35 onward and seems to have completed the remaining manuscript rather rapidly, with identical script and ink.
The sequence of pieces runs, from page 1 to page 52:
Pages 1 recto – 8 verso Fasch, Carl: Ariette avec 14 Variations
Pages 9 recto – 10 verso L. van Beethoven: Sonata [Sonatina] in G major, Anhang 5 No. 1
Pages 11 recto – 12 verso Unidentified author: 8 Eccossaises (!) for piano [title partly written in minuscule Gothic cursive, perhaps the last word 1. Sammlung]
Page 12 verso, lines 7/8 and following Unidentified author: Gavotta for piano
Page 13 recto, lines 1/2 Unidentified author: Vals (partly not visible) de Cosacka for piano. Unidentified author: Valse and Walzer for piano. Unidentified author: Allemanda for piano.
Pages 14 verso – 19 recto L. van Beethoven: 9 Deutsche Tänze for piano four hands [presumed; pieces lacking author and title] Anhang 9 – Hess Anhang 19 (now correctly attributed to Johann Baptist Wanhal).
Pages 20 verso – 21 recto Dupuy, Jean‑Baptiste‑Edouard‑Louis‑Camille: Polonaise for piano
Pages 22 verso – 24 verso Mozart: Menuetto à 4 Mains de Mozart and “Polonaise par Mozart” (both probably apocryphal)
Pages 24 verso – 28 verso Steibelt, Daniel: 7 Walzer (pieces quite different in spirit and notation; since there is no change of author, we ascribe them all to Steibelt).
Page 29 recto Unidentified author: Marsch 30 Februar 1814 — followed by Vanhal, Johann Baptist: Ungarese – moderato for piano.
Page 30 verso Unidentified author: “Mignon” Gesang (song) for voice and piano — followed by Vanhal, Johann Baptist: Rondò de Wanhall – Cadenza – Andante for piano.
Page 31 recto Unidentified author: Quadrilles for piano.
Page 32 verso Vanhal, Johann Baptist: Walzer — Müller, August Eberhard: Marcia in A major for piano.
Page 33 recto Unidentified author: La Perigodine (!) — the correct wording should be La Périgourdine (The girl from Périgord).
Page 34 verso Blank.
Pages 35 recto – 37 recto Kirmair, Friedrich Joseph: Das klingt so herrlich – Allegro assai con variazioni for piano (possibly Friedrich Joseph Kirmair, 1770–1814, whose Air, with variations for the piano forte was published in London around 1820).
Pages 38 verso – 40 verso Steibelt, Daniel: Rondò – Allegro
Pages 41 recto – 42 verso Steibelt, Daniel: Rondò – Presto
Pages 43 recto – 45 recto Unidentified author: Rondò alla turca – molto allegro for piano
Page 46 verso Blank.
Page 47 recto Vanhal, Johann Baptist: No. 10 – Cadenza “Sigliamo” (!) Andante.
Page 48 verso Vanhal, Johann Baptist: No. 11 – Cadenza Cantabile.
Page 49 recto Vanhal, Johann Baptist: Allegretto and No. 12 – Cadenza.
Pages 50 verso – 51 recto Vanhal, Johann Baptist: Maestoso con spirito – Allegro. No. 13 – Cadenza. Polonese.
Page 52 verso Blank.
Anhang 9 fa parte del progetto “La ricerca diventa Arte”
Una nuova vita per le opere sconosciute di Ludwig van Beethovene del suo tempo: Un’ esplorazione artistica a cura del Duo Fusaro Arcuri
Johann Baptist Wanhal’s German Dances are written in a light and lively style. All of them display a tetic, triple‑meter rhythm and an “Allegro–Vivace” character, typical of this musical genre. There is no presence of elaborate phrasing or agogic nuance, but where such markings do appear, they must be executed with precision in order to obtain the desired timbral effects. Performance requires a brilliant, clean, and dry touch: a flexible wrist, firm fingers, and relaxed palms. The formal scheme consists of two or three sections, each of which is repeated. The melodic lines — singable and musical — must not be obscured by the accompaniment of the Secondo (which should be played detached and rhythmically), and whenever imitative passages appear between the two Parts, a sense of dialogue should be created. Pedal use must be very moderate and always on the beat. Care should be taken to mark the rhythm clearly (accent always on the first beat of each measure) so as to impart the proper dancing character.
The dances are independent of one another. What creates unity are: the triple meter, the character, and the choice of major mode (respectively: C, F, B‑flat, G, E‑flat, C, C, D, and G). The first two dances are the simplest to perform: the Secondo plays the accompaniment and the Primo presents the melodic line clearly and brilliantly. From Dance No. 3 to No. 9, the two Parts begin to engage in dialogue and become increasingly complex from a technical standpoint. Many passages are homorhythmic and require perfect synchrony between the Parts. Of particular note is the writing of the Secondo in Dance No. 5: the phrasing contrasts with that of the Primo and requires a softer, more delicate touch so as to allow the “hiccupped” theme proposed by the Primo to emerge. We then arrive at Dance No. 6, which suggests a very fast execution and evokes a round dance. Dances Nos. 7–8 clearly appear bouncy and, for the first time, introduce dynamic markings. The cycle closes with Dance No. 9, the only one written in 3/8, which must certainly be performed in a single beat and at a very fast tempo.
The linearity of the writing must not lead to superficiality; rather, it should serve as an aid in interpreting what is written: the intention is clear between the lines and points back to popular dance.
Antonietta Cappelli
The other musicians
who authored the works contained in the manuscript
Dupuy, Jean-Baptiste-Edouard-Louis-Camille
Édouard Du Puy was born in Corcelles‑Cormondrèche, in the Canton of Neuchâtel, Switzerland, around the year 1770, although sources differ regarding the exact year. From the age of four he was raised by his uncle, a city musician in Geneva, whose surname Édouard later adopted. Seeing that his nephew possessed talent, the uncle ensured that Édouard received a proper musical education.
In 1786, Du Puy was sent to Paris, where he was taught piano by Jan Ladislav Dussek and violin by François Chabran. In 1789 he was appointed first violin at the court of Henry of Prussia in Rheinsberg, replacing J. A. P. Schulz, who had been called to Denmark as chorus director of the Royal Danish Orchestra (Det Kongelige Kapel). Du Puy worked in Rheinsberg for four years while studying harmony with Carl Friedrich Christian Fasch.
For further information, we refer the reader to Wikipedia.
Carl Friedrich Christian Fasch
In 1756 he began serving at the court of Frederick the Great of Prussia, where he acted as deputy to the court harpsichordist C. P. E. Bach, eventually assuming the position when Bach left the court for Hamburg in 1767. In 1791 he founded the Sing‑Akademie in Berlin, which rapidly became an important centre of musical life. In its concerts Fasch promoted the music of J. S. Bach and other masters of the Baroque period, as well as music of his own time. The Akademie was visited by Beethoven in 1796. Fasch also composed numerous works for the Sing‑Akademie. His Mass for sixteen voices, a virtuosic mass accompanied exclusively by continuo organ, is a choral masterpiece of the late eighteenth century.
Fasch died in Berlin in 1800. His grave is preserved in the Protestant Friedhof I der Jerusalems‑ und Neuen Kirchengemeinde (Cemetery No. I of the congregations of the Church of Jerusalem and the New Church) in Berlin‑Kreuzberg, south of Hallesches Tor. He was succeeded as head of the Akademie by Carl Friedrich Zelter.
Kirmair, Friedrich Joseph
Only a scant list of compositions survives:
12 Pièces détachées, Op. 20
3 Piano Sonatas, Op. 12
4 Sonatinas
5 Variations on “Du feines Täubchen, nur herein”
5 Variations on “Suono dindin suono”
6 Themes variés, Part 1
6 Themes variés, Part 3
6 Themes variés, Part 4
6 Variations on “Ach du lieber Augustin”
Keyboard Trio in E‑flat major, Op. 6
August Eberhard Müller
Trained under the guidance of his father, an organist, he gave his first public concert at the age of eight. He studied with Johann Christoph Friedrich Bach in Bückeburg, where he later served as organist at the Ulrichskirche until 1788. From 1789 he worked as choral director, teacher, and organist in Magdeburg.
Through the instruction of Johann Friedrich Reichardt, whom he met in Berlin in 1792, Müller became an organist at the Church of St. Nicholas in Leipzig in 1794. In 1800 he was appointed assistant to Johann Adam Hiller, whom he succeeded as Thomaskantor upon Hiller’s death in 1804. In 1810 he became Kapellmeister at the ducal court of Weimar.
Müller maintained the works of J. S. Bach in the repertoire and also contributed to the dissemination of Viennese Classicism. In 1801 he conducted the first performance outside Vienna of Haydn’s The Seasons.
He also composed for the piano, writing two concertos, sonatas, and fourteen various caprices and other pieces. In addition, he wrote concertos for flute and seven further works for flute and orchestra. His son was the violinist Theodor Amadeus Müller.
Daniel Gottlieb Steibelt
The son of an instrument maker, Daniel Steibelt studied piano and composition in Berlin with Johann Kirnberger until 1784, when, at the age of nineteen, he enlisted in the Prussian army at his father’s command. Having left his military career, Steibelt moved to Paris in 1790, where he was esteemed both as a pianist and as a fashionable teacher, achieving success also as a composer. In 1793 he composed the dramatic opera Roméo et Juliette for the Théâtre Feydeau, considered by many to be his most original work and of great artistic value. Years later it was also held in high regard by Berlioz.
A man of an original and not entirely transparent personality, in 1796—when it was discovered that he had sold to publishers compositions already issued by others—he left the French capital for London, where he renewed his enthusiastic successes as a concert pianist. In 1797 he performed in one of the concerts organized by J. P. Salomon. In 1798 he composed the Concerto No. 3 in E‑flat major, which contains a Storm Rondo, characterized by long tremolos that became very popular. After having triumphed as a dominant figure in England for three years, he moved the following year to Hamburg, and was subsequently applauded in Dresden, Prague, Berlin, and Vienna, where in May 1800 he took part in a competition challenging Beethoven in a test of skill at the residence of Count Moritz von Fries. He finally returned to Paris in 1800, where he introduced Haydn’s Schöpfung (with his own alterations) and resumed his compositional activity.
Between 1802 and 1808 he divided his time between London and Paris, but then, in order to escape his creditors, he settled in Saint Petersburg as director of the French Opera, a position he held until his death. A prolific composer and a man of rather arrogant, vain, and even dishonest character, Steibelt was nevertheless regarded as one of the most brilliant and popular pianists of his time. Despite his skill in composition—which enabled him to write works of great technical complexity and musical interest—his output was not often performed during his lifetime and fell into almost complete oblivion after his death.
Jan Křtitel Vaňhal (Johann Baptist Vanhal)
Born in Nechanice in Bohemia into a Czech family of farmers, Vanhal owed his first musical training to a local musician. After these humble beginnings he managed to earn his living as an organist and choirmaster. Countess Schaffgotsch, having heard him play the violin, brought him to Vienna in 1760, where she arranged for him to take composition lessons with the great Carl Ditters von Dittersdorf. Further financial support enabled him to travel and acquire additional musical knowledge, so that by the age of thirty‑five he was among the most distinguished musicians: he played quartets with Haydn, Mozart, and Dittersdorf. Memorable is the performance of 12 February 1785, when he played with them three of the six Mozart quartets dedicated to Haydn.
It is said that he suffered from an unspecified “nervous illness” (perhaps depression or a manic‑depressive psychosis), from which he eventually recovered, though it appears that the quality of his compositions declined after the disappearance of the illness.
He became so famous that he was probably the first musician able to live entirely from his compositions, without the need for appointments or patronage. He must have been a prolific author in order to satisfy all the demands placed upon him, and he is credited with 100 quartets, at least 73 symphonies, 95 sacred works, and a large number of instrumental and vocal compositions. The symphonies, in particular, have been increasingly recorded on CD in recent years, and the finest of them are comparable to many by Haydn.
His success was such that his symphonies, only a few years after being written, were performed throughout the world, including in the United States. In the last years of his life, however, he rarely left Vienna, where he was actively engaged in teaching.
