Hess Anhang 9 – Sonata a tre in Six Movements for Organ

Compiled and prefaced by A. Pochon; published by Carl Fischer, New York, 1926. This work, presented as a six-movement trio sonata for organ (or for two violins and cello), was edited by Alfred Pochon, who based his edition primarily on the “famous” Studien by Ignaz von Seyfried. The initial identification of the constituent pieces was made by Professor Giovanni Biamonti of Rome.

Structure and Provenance of Movements

The six movements are drawn from various sources, with only the final two being original compositions by Beethoven. The ordering of movements differs between Hess and Dorfmüller (cf. Dorfmüller, p. 398):

1. Andante e Maestoso in B-flat major
   • Both segments are derived from Handel’s oratorio Esther, though presented in reverse order.
   • The initial Andante modulates to G minor, followed by a Maestoso in B-flat major (which Seyfried labels as Allegro).
   • Source: Seyfried, Studien, pp. 348–352.
2. Adagio in G minor
   • This is the second movement of the fourth sonata from C.P.E. Bach’s Six Sonatas for Harpsichord, Op. 2.
   • Source: Seyfried, pp. 160–163.
3. Fugato in B-flat major
   • Corresponds to the Allegro from the overture to Handel’s Esther.
   • Source: Seyfried, pp. 302–307.
4. Andante in E-flat minor
   • Second movement of the fifth sonata from the same C.P.E. Bach collection.
   • Source: Seyfried, pp. 163–167.
5. Nachahmungssatz (Imitative Movement) in E minor
   • Identical to the first part of Hess 29.
   • Original Beethoven composition.
6. Fugue in E minor
   • Identical to the second part of Hess 29.
   • Original Beethoven composition.

Editorial and Attribution Notes

Only the final two movements (V and VI) are authentically by Beethoven. The remaining four are misattributed or borrowed, primarily from Handel and C.P.E. Bach. Seyfried’s Studien, while historically influential, contains numerous attribution errors. Nevertheless, it served as a foundational reference for early Beethoven scholarship. Hess suggests that Seyfried may have been overly casual in attributing the first and third movements to Beethoven. However, this may be an unfair characterization. Beethoven himself copied Handel’s Esther overture, as evidenced by Autograph 75 housed at the Gesellschaft der Musikfreunde in Vienna. Seyfried had access to this manuscript, and given Beethoven’s handwriting, may have genuinely believed the music to be original.

For a thorough investigation of this issue, scholars are directed to Nottebohm’s Beethoveniana I, beginning on p. 154.

Additional Notes

• The same piece appears as No. 31 in Pochon’s second edition.
• The editorial work on this page was overseen by Michel Rouch and reviewed by the Beethoven Music Research Center (C.R.M.B.).

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