Biamonti 77 – Der Freier Mann: Wer ist ein freier Mann? Lied in C major, for voice, unison choir, and piano. 1792 – March 1795.
Biamonti 77 – “Der Freie Mann: Wer ist ein freier Mann?” Lied in C major, for voice, unison choir, and piano. 1792 – March 1795. Sketches. Nottebohm (II, pages 561-562), cites three sketches from a sheet referring to the Bonn period (it could also be from 1794): the first, despite the indication “vier maennliche Stimmen” (four male voices), is for a single voice or singing part (alternatively choir in unison and solo voice) with piano accompaniment that is not always legible. The inspiration and especially the following part bear little resemblance to the final version. The other two, without words (the second also reported by Schiedermair with added lyrics), clearly foreshadow the theme.
For information about the complete Lied, the text, and an early masonic text, see WoO 117. Nottebohm, in chapter 61 “Prime compositions” of his book “Zweite Beethoveniana,” pages 561-562, writes: “Around 1790, based on a sketch that begins like this […] the little song of peace (Op. 52 No. 3) was conceived.” [Ueltzen’s poem first appeared in the Göttinger Musenalmanach for 1788.] That the Lied “Wer ist ein freier Mann?” was composed very early is already suggested by Wegeler (Biogr. Not, p. 47). However, we should not interpret “very early” in the strictest sense. On some pages from the Bonn period, sketches are found, one of which, with the upper voice beginning as shown, bears no relation to the printed version. An approximation to the printed form is visible in this fragment and in this sketch. Pfeffel’s poem first appeared with a composition by C. F. G. Schwenke in the Vossischer Musenalmanach for 1792. Its content may have been inspired by the French Revolution. Based on that year and the earlier mention, the above sketches can only date from between late 1791 and November 1792. Notably, some passages in Beethoven’s composition resemble parts of Schwenke’s, suggesting that the latter may have influenced the former. For example, Schwenke’s composition begins with a turn that Beethoven later adopts in a very similar way. Beethoven’s composition exists in two autograph versions, both slightly different and from his first Vienna period. One version matches the printed form.
[Around 1790, after a sketch that begins like this (musical example follows), the „Liedchen von der Ruhe“ (Op. 52 n. 3). was conceived. The poem by Ueltzen first appeared in the Göttinger Musenalmanach for 1788. That the Lied “Wer ist ein freier Mann?” was composed quite early is confirmed by Wegeler (Biogr. Not, p. 47). However, we should not take “quite early” in the narrowest sense. Sketches from some pages of the Bonn period are available, and one of these [Kafka Skizzenbuch, sheet 153, verso, lines 1-6], whose top begins as shown (see example 1), bears no relation to the printed version. An approximation of the printed form can be seen in this fragment and in this sketch (example 2).]
Exemple 1
Exemple 2
Exemple 3
Pfeffel’s poem first appeared alongside a composition by C. F. G. Schwenke in the Vossischer Musenalmanach of 1792. Based on its content, the poem might have been inspired by the French Revolution. From what has been said earlier, the sketches mentioned above can only date from the period between late 1791 and November 1792. The resemblance of some passages in Beethoven’s composition to parts of Schwenke’s is quite striking. For example, Beethoven’s composition (example 3) begins with a turn that Schwenke later incorporated in a very similar manner. Beethoven’s work exists in two complete autograph versions [Kafka Skizzenbuch, sheets 61 recto and 62 rectos. Both differ slightly and belong to his first Viennese period. One of these modifications aligns with the printed version.]
First Sketch: It can be found in the Kafka Miscellany on sheet 153, lines 1-6. Contrary to what Nottebohm states, the Lied is practically complete, or rather, the sketch is complete; however, much of the piano accompaniment and choir are missing. In the first twelve measures, Beethoven clearly writes the solo part (or the first voice of the male choir) on the upper stave, and the other three voices (though only two are indicated) on the lower stave. The style used is that of the isorhythmic chorale. Notably, Beethoven assigns the first “Wer” to the initial voices, while the full choir begins at the second measure, on the second “Wer.” Immediately after (measures 13–34), a long section for the soloist begins, more melodic and with a barely hinted accompaniment, followed (measures 39–51) by the finale, again entrusted to the choir without accompaniment and in a choral style. I encountered some difficulty interpreting certain measures at the bottom of the first two lines: evidently, Beethoven wrote this solo part by starting a new line after the second measure, then later added an instrumental section in the remaining part of the initial two lines, probably intending to insert it somewhere. Given the similarity to the opening measures of the sung part, I thought it might serve as a kind of introduction to the solo section, so I placed it before the start of the second part of the Lied. In another section (measures 35–38), I did not find any text written in the upper stave, which until now pertained to the soloist, so I also thought this could be a separation between the solo part and the return of the choir.
BIBLIOGRAPHY
- G. Nottebohm Zweite Beethoveniana
