Hess 34 Quartet in F major for two violins, viola and cello, transcription by the author of the Piano Sonata in E major op. 14 no. 1
I) Allegro – II) Allegretto – III) Rondò – Allegro
Hess 34 Quartet in F major for two violins, viola, and cello, transcription by the composer of the Piano Sonata in E major, op. 14 no. 1, dedicated to the Countess of Braun, 1801 – spring 1802, published in separate parts in Vienna, Bureau d’arts et d’industrie, May 1802; in (pocket) score, with the original piano version provided, by W. Altmann, Leipzig, Breitkopf and Härtel, 1911; recently (in large score) by W. Hess in the sixth volume of the Supplemente zur GA., 1963. B. 301 – H. 34 – KH. 14 (p. 33) – L. I, p. 140 – N. 14 (p. 16) – P. 104.
This quartet is a direct transcription by Beethoven of his Piano Sonata in E major, Op. 14 No. 1. It was likely composed between 1801 and the spring of 1802, and dedicated to Baroness Josephine von Braun. The original edition appeared in separate parts in Vienna, published by the Bureau d’arts et d’industrie in May 1802. A pocket score edition, including the original piano version, was issued by W. Altmann in Leipzig (Breitkopf & Härtel, 1911). A more recent full score edition was published by Willy Hess in Volume VI of the Supplemente zur Gesamtausgabe (1963).
The KH catalogue does not report the existence of the original manuscript. However, Beethoven himself refers to this transcription in a letter to Breitkopf & Härtel dated July 13, 1802. In it, he criticizes the widespread and indiscriminate practice of adapting piano compositions for string instruments, which he considered fundamentally different in nature. He writes:
“It is truly time to curb that monstrous mania (unnatürliche Muth) which now so predominates—of adapting piano compositions for string instruments, which are in every respect absolutely different. Entire passages would need to be omitted or altered, others added. Therefore, such transcriptions should be made either by the composer himself or by someone with equal ability and inventiveness. I have arranged only one of my sonatas as a string quartet, and only because I was implored to do so. But I am quite certain that no one else could easily accomplish the same.”
It remains unclear who implored Beethoven so insistently—perhaps a publisher, or possibly Ignaz Schuppanzigh, eager to present novelties at his concerts, or even Baroness von Braun herself, flattered to see her name once again associated with Beethoven’s dedications. At that time, Beethoven was likely seeking to cultivate favor with Baron von Braun, a prominent figure in Vienna’s theatrical world. As noted elsewhere, Beethoven would enter into closer relations with him just over a year later, when Braun assumed directorship of the Theater an der Wien.
Beethoven’s letter offers valuable insight into the nature of the modifications he introduced in the transcription. He replaced pianistic passages that, if transferred directly to the quartet texture, would have lost their effectiveness. He enriched the parts, taking advantage of the broader expressive palette offered by four independent instruments capable of sustaining tone longer. He also reimagined melodic and harmonic elements to suit the new medium. The original inspiration, reinterpreted through the lens of string timbre, gave rise to analogous—but not identical—forms.
As for the change in key from E major to F major, this was likely motivated by the need to use the lowest C of the viola and cello as the dominant of the new tonality—something that would not have been feasible had the piece remained in E major.The original edition appeared in May 1802 in separate parts via the Kunst- und Industriekomptor. It was reprinted in 1802 (N. Simrock, Bonn), in 1815 (Riedl, Vienna), in 1822 (Steiner & Co., Vienna), and in 1826 (Tobias Haslinger). Gustav Nottebohm prepared a further reprint for N. Simrock in 1875. More recent editions, including those published in London, should be verified for accuracy.
Kinsky/Halm (p. 33) cites two London reprints: one by Clementi & Co. (1807), and another by Clementi, Banger, Hyde, Collard & Davies (1810).
Despite its significance, this transcription was not included among the string quartets in the Gesamtausgabe. W. Altmann republished it in 1905 through Breitkopf & Härtel, followed by a pocket score edition from Eulenburg in 1911, based on the same source.
The quartet is also discussed by W. Altmann in his article Ein vergessenes Streichquartett Beethovens (“A Forgotten Beethoven String Quartet”), published in Die Musik, Vol. V, No. 4 (November 1905), pp. 250–257. The article includes the finale in its quartet version, with the original piano version printed below.
Michael Broyles, in his article for the Journal of the American Musicological Society, Vol. XXIII, No. 3 (Autumn 1970), p. 405, speculates that this version may have been composed—or at least sketched—prior to the piano version.
