A Forgotten Work by Beethoven:  Can unknown works by Beethoven still exist?

At first glance, it seems impossible. Every note by this great man has been examined, analyzed, commented on, and performed. Is there still music by Beethoven that could be presented as a “world premiere”? It sounds implausible. Yet, a few years ago in England, a previously unknown string quartet was discovered—the so-called Pencarrow Quartet. Beethoven’s sketchbooks continue to reveal hidden treasures. However, Dona nobis pacem is not one of these discoveries. It does not come from his sketchbooks. So how is it possible that this small choral gem has never been recorded or even sung? The answer is simple: although the piece was known, it was long considered spurious. Only recently has its authenticity been confirmed, earning it a catalog number and a rightful place in the Gesamtausgabe (Complete Edition of Beethoven’s Works).

Editorial History and Attribution

The work was first published in 1832, a few years after Beethoven’s death, in a book edited by Ignaz von Seyfried, a friend of the composer. However, Seyfried lacked scholarly rigor: his volume included exercises he believed to be authentic Beethoven compositions, which were in fact copies of other composers’ works. Although Seyfried had access to Beethoven’s manuscripts, many were personal exercises or teaching materials based on studies of other composers. As a result, many of these exercises are not genuine Beethoven works. In this context, Dona nobis pacem was never proven to be authentic. It appeared in Seyfried’s book, and there was only speculation that it might be original. For this reason, it was excluded from the official catalog of Beethoven’s works. It was also omitted from the first modern catalog by Kinsky-Halm (1955), even from the appendix (Anhang) of doubtful works. It was the Swiss musicologist Willy Hess who finally gave it a catalog number in 1957: Hess Anhang 57, listed under zweifelhafte und untergeschobene Werke (doubtful and misattributed works).

The Miracle of Authentication

The breakthrough came in Stockholm, at the Stiftelsen Musikkulturens Främjande library, where the original manuscript resurfaced. This document proves that Beethoven personally worked on the composition—a four-voice fugue, rich in imagination yet rigorously faithful to the strict laws of counterpoint. All doubts were dispelled: the work is authentic.

Dating and Context

The dating is possible thanks to corrections made by Georg Albrechsberger, Beethoven’s teacher, who gave him theoretical lessons between 1794 and 1795. Thus, Dona nobis pacem is the work of a young Beethoven, newly arrived in Vienna and studying the subtle art of polyphony. For many years, this treasure remained shrouded in mystery. Today, thanks to a modern edition of the score, scholars and choirs can finally enjoy this small masterpiece born from Beethoven’s genius.

Audio and Resources

• The piece is available in audio format (MP3) on the page.
• A modern score edition is available for academic and choral use.
• The text was curated by Jos van der Zanden and translated by Armando Orlandi.

Editorial Notes

• Texts and documents on this page were curated by Luigi Bellofatto and reviewed by the editorial team of the Beethoven Music Research Center (C.R.M.B.).
• For consultations or resource requests, use the contact form.
• All content is copyrighted by the C.R.M.B. and respective authors.