Hess 301 – Sketch of the Canon “Es ist kein Wahn,” for Friedrich Wähner

Date of Composition: Circa January 1820 Status: Sketch; fragmentary melodic line Composer: Ludwig van Beethoven Recipient: Friedrich Wähner Source: Skizzenbuch aus den Jahren 1819/20, pp. 28–29 and 33 of the manuscript Published by: Joseph Schmidt-Görg, Beethoven-Haus Bonn (1952; facsimile edition, 1968) Catalog References: SBH 665, SV 81.

Historical and Philological Context:  This brief canon sketch, catalogued as Hess 301, is one of Beethoven’s whimsical musical jests, composed around January 1820. It is part of a pair of canons found in Beethoven’s Skizzenbuch aus den Jahren 1819/20, with Hess 300 appearing on page 43 (manuscript pp. 28–29) and Hess 301 on page 45 (manuscript p. 33). The sketchbook was published by Joseph Schmidt-Görg through the Beethoven-Haus in Bonn in 1952, and later issued in facsimile in 1968.

The canon’s text is a linguistic pun on the name of Friedrich Wähner. The German word Wahn, phonetically similar to Wähner, translates to “delusion” or “mania,” allowing Beethoven to craft a humorous and slightly absurd verse that plays on this duality. The title Es ist kein Wahn (“It is no delusion”) sets the tone for a playful musical setting that borders on satire.

 Scholarly Debate and Interpretive Challenges: While the Hess catalogue suggests that the Wähner canon is fully developed and Hess 300 remains a sketch, musicologist A. Willem Holsbergen offers a compelling counterargument: “Of the canon for Wähner, we possess only a single melodic line of 20 bars. There are no clefs nor key signatures, and thus the interpretation of the sketch itself is problematic. On the other hand, Hess 300 is more or less resolved.” This observation underscores the fragmentary nature of Hess 301. The absence of harmonic or contrapuntal elaboration, along with the lack of notational indicators, renders the sketch ambiguous. It is unclear whether Beethoven intended this as a complete canon or merely a melodic idea to be developed later.

 Text of the Canon: The canon’s verse is a playful cascade of phonetically similar words, culminating in a humorous twist:

Wähner, Wähner, Wähner,
Es ist kein Wahn
wenn man sich weidet
an einem Weid, Weid,
Weidmann, Weidmännchen,
Weidmännchen, Weidmännchen,
Eselchen!

This nonsensical progression—from Weid (pasture/hunt) to Weidmann (hunter), Weidmännchen (little hunter), and finally Eselchen (little donkey)—suggests a descent from noble to ridiculous, perhaps a gentle tease aimed at Wähner himself. The repetition and diminutives evoke a childlike or folkloric tone, typical of Beethoven’s private musical jokes.

Musical Characteristics: Form: Canon (sketched) Texture: Monophonic (single melodic line) Length: 20 bars Notation: No clefs, no key signature Intended Use: Likely private or pedagogical; not intended for public performance. Despite its brevity and lack of formal structure, the sketch exhibits Beethoven’s characteristic wit and inventiveness. The melodic contour suggests a potential for contrapuntal treatment, though no additional voices are provided. The absence of clefs and key signatures implies that Beethoven may have drafted this as a spontaneous idea, possibly during a moment of levity.

Editorial and Analytical Possibilities: Given the fragmentary nature of the sketch, editors and scholars face several challenges: Reconstruction: Any polyphonic realization would be speculative, requiring stylistic inference based on Beethoven’s known canon techniques. Text Setting: The rhythmic placement of the text within the melodic line is unclear, necessitating interpretive decisions. Comparative Study: A comparison with other humorous canons by Beethoven (e.g., Gegenliebe, Kurz ist der Schmerz) may offer insights into his approach to musical satire.

Conclusion. Hess 301 stands as a testament to Beethoven’s playful side—a moment of levity captured in a sketchbook otherwise filled with serious contrapuntal and instrumental studies. Though fragmentary, it invites scholarly engagement, editorial creativity, and a deeper appreciation of the composer’s multifaceted personality.