Hess 137 Ich wiege dich in meinem Arm Lied for voice and piano

Hess 137 – “Schwinge dich in meinem Dom”.
See the following catalogue number.

[Hess made an error in reporting the title of the piece. The phrase he gives has no coherent meaning, whereas the correct title should be “Ich wiege dich in meinen Arm”. The author of the text remains unknown. Cooper dates the composition to 1795, though on a “purely conjectural” basis. The autograph has been lost. Judging from the correct title, the piece was probably a lullaby. This otherwise unknown song came to light through a reference made to it in a price list compiled by Beethoven in 1822 for potential publication.

The source of Hess’s error in the title appears to be Thayer. On this point, Alan Tyson writes: “In the appendix to the third volume of his Beethoven biography, Thayer cites a price list that Beethoven compiled for a number of his unpublished works (and, in a few cases, not yet composed ones). Thayer seems to have learned of it from a transcription by Otto Jahn, and his published text contains several mistakes. Fortunately, these can be corrected, since the list is today held at the SBB, catalogued as ‘Mus. Ms. Autogr. Beethoven 35, 80’. As one might expect, the list carries no date, as the document was probably intended for Beethoven’s own use only. Thayer published the list together with Beethoven’s correspondence with Steiner and Haslinger from the years 1815–1817, adding an enigmatic footnote remarking that, according to clues in the Steiner–Streicher correspondence, the document should be dated to the end of 1816. (See Thayer III, pp. 487–88; reprinted unaltered in Thayer–Deiters–Riemann III, pp. 619–20. The footnote was omitted in Thayer/Krehbiel and in Thayer/Forbes). Thayer’s dating was not questioned by Nottebohm. It is now clear, however, that the list must be placed more than five years later. The clearest evidence for a later date appears in a letter Beethoven wrote to the Leipzig publisher C. F. Peters on 5 June 1822.”

This letter is catalogued as Anderson 1079 / Brandenburg 1468. It contains a list of works offered to Peters for publication, including the piece corresponding to the present catalogue number and, among others, those related to Nos. 138.

This is only one of the many pieces that Hess decided to include in his catalogue without knowing for certain whether they had ever actually been written. No sketches, fragments, or autographs survive.

See Alan Tyson, A Beethoven Price List of 1822, in Beethoven Essays: Studies in Honor of Elliot Forbes, Harvard University Press, Cambridge, Mass., 1984. See also C/C, p. 264.1.

The International Beethoven Project presented the world première of the Beethoven Lied Liebe, also known as Ich wiege dich in meinen Arm (Hess 137), at the Chicago Beethoven Festival on Saturday, 8 September 2013, Central Daylight Time.

Lost since as early as 1822 and known only from a scribbled note of its opening words in a price list sent by Beethoven that year to the publisher C. F. Peters, the poetic text was rediscovered by Mark S. Zimmer, Director of the Beethoven research centre Unheardbeethoven. The musical sketches by Beethoven were traced by the Centre’s Music Director, Albert Willem Holsbergen, who prepared a performing version from these materials.

Originally written by Beethoven around 1797, this work eluded scholarly attention for nearly two centuries until its rediscovery in the summer of 2013.
The première on 8 September was given by tenor Dominic Armstrong and pianist George Lepauw. And here, at last, is the recording of this unique performance!

And let us read together what Chicago music critic Lawrence Johnson writes in the “Chicago Classical Review“:

“Earlier, the festival offered a singular event with what was billed as a Beethoven world premiere. The Wisconsin-based Beethoven scholar Mark Zimmer unearthed a version of Liebe, a Beethoven song that is in the Hess catalogue but was viewed with suspicion. An alternative score, uncovered by Zimmer, was subsequently authenticated. The song title fits the festival theme—“We commissioned it,” Lepauw joked—-and certainly sounds like genuine Beethoven. (Whether the puritanical Beethoven would have set music to a text with ribald banana references is open to question.) Still, if no masterpiece, it’s an attractive work, and received an ardent performance by Armstrong and Lepauw”.

In the hope of adding further details, we should emphasise how many surprises still lie hidden in the pen and mind of our Beethoven.

References:

The original webpage from which this article is taken: “A Beethoven World Premiere: Sunday 8 September 2013”

The welcome page of the website Unheardbeethoven.org

The page where you can read Mark Zimmer’s dedicated article: Liebe: the discovery and identification of a Beethoven song lost since 1822

The original page announcing the reconstruction of the Lied, available on the UnheardBeethoven website:

We at The Unheard Beethoven are extremely excited to announce our recent discovery of a Beethoven song for male voice and piano, lost since 1822. The song, “Ich wiege dich in meinem Arm” (I cradle you in my arms) Hess 137, was a complete mystery for nearly two centuries. The only trace of it known to survive was in an 1822 price list that Beethoven prepared for C.F. Peters. Alan Tyson transcribed the price list in an article published in Beethoven Studies in Honor of Elliot Forbes. This mysterious song was listed amongst several other known songs, Seufzer eines Ungeliebten und Gegenliebe, WoO 118, and Ein Selbstgespräch, WoO 114. Until Tyson’s transcription, Beethoven’s utterly illegible handwriting had made previous researchers look for a song with the comical title “Ich schwinge dich in meinen Dom” (I swing you in my cathedral), which did not help matters.

Since Beethoven was offering the song for sale in 1822, it was obviously in a state that he felt was close enough to being finished that he could list it as something available for sale. That turned out to be correct. The lyrics are complete, the vocal line of the through-composed song is very nearly complete, but the piano accompaniment is rather fragmentary. Our own Willem has been able to render a most striking completion, which is under discussion for world premiere in the very near future. Stay tuned for more news about this never-before-heard Beethoven song, lost for nearly two centuries!

Liebe,
An Henriette B.

Ich wiege dich in meinem Arm.
Wovon ist dir dein Haendchen warm?
Ach! ist so warm von Liebe!

Wovon, mein liebes Maedchen, o!
Wovon brennt dir die Wange so?
Ach! brennt dir so von Liebe!

Wovon mein liebes Maedchen, o!
Wovon schlaegt dir dein Herzchen so?
Ach! schlaegt dir so von Liebe!

Wovon, o Maedchen schmeichelt so
Dein blaues Auge mild und froh?
Ach! schmeichelt so von Liebe!

Wovon, ach! ist dein Kuss so suess,
Wie Pisang war im Paradies?
Ach! ist so suess von Liebe!

Und deiner Engelstimme Ton,
O! floetet ja so suess! wovon?
Ach! floetet so von Liebe!

Ich wieg’ in meinem Arme dich;
Sieh her! mit Thraenen freu’ ich mich,
O Maedchen, deiner Liebe!

F.W.A. Schmidt

Friedrich Wilhelm August Schmidt

Kafka Miscellany page 47 versus

Kafka Miscellany page 67 versus

MARK S. ZIMMER Liebe: the discovery and identification of a Beethoven song lost since 1822

You can read the full article devoted to the rediscovery of the Lied in: The Musical Times, Vol. 157, No. 1937 (Winter 2016), pp. 13–34 (22 pages). Published by Musical Times Publications Ltd.