The pieces A 41 An mein Liebchen and Liebe und Wein are Lieder for voice and piano, adapted from Beethoven’s Serenade Op. 8.

Wilhelm [von] Lenz, in his work published in 1860, Beethoven. Eine Kunststudie, Part 5 ([Ernst Balde, Hamburg]), mentions a group of Lieder with piano accompaniment; apart from those already known, we list here only the following eight items:

• Hess Anhang 40 “Aus dunkelm Laub”, song for three voices, p. 353. [Arrangement from Op. 26.]
• Hess Anhang 41 “Aus mein Liebchen”, p. 349. [Arrangement from Op. 8; cf. Dorfmüller, p. 295.]
• Hess Anhang 42 “Liebe und Wein”. [Arrangement from Op. 8; cf. Dorfmüller, p. 295.]
• Hess Anhang 43 “Der Wunsch”, p. 349. [Arrangement from Op. 25.]
• Hess Anhang 44 “Der Verstossene”, p. 349. [Arrangement from Op. 25.]
• Hess Anhang 45 “Sehnsucht nach dem Rhein”, p. 349. [Arrangement from Op. 75 No. 1.]
• Hess Anhang 46 “Lebensglück”, text by Tiedge, p. 348. [Arrangement from Op. 88 (see below).]
• Hess Anhang 47 “Abschied”, text by Tiedge, p. 348. [Arrangement from WoO 124 (see below).]

As far as we know, the eight songs or Lieder listed above are not original works. Nevertheless, we have chosen to include them, since Lenz regarded them as such.

Number A 40, a trio for unaccompanied male voices (and therefore not a song in the strict sense), is based on the theme and variations of the Sonata Op. 26 and was published in Berlin in 1821 by Lischke.

Numbers A 41 and A 42, which appear as pieces 2 and 3 in the journal Drey Lieder / Abschiedslied, An mein Liebchen, Liebe und Wein, are transcriptions derived from Op. 8; No. A 41 uses the theme and variations of the finale, while No. A 42 is taken from the trio of the minuet. The text of both was added by a certain C. P. [The author of the text is indicated only by the initials appearing on the title page and remains unknown.]

Lenz does not mention the first piece, Abschiedslied, taken from the theme of Op. 35, which clearly cannot be identical with our No. A 47, since Tiedge is there cited as the author of the text.

The journal was published around 1825 by Cappi in Vienna. Numbers A 43 and A 44 correspond to Nos. 3 and 2 of the pieces published in the journal Drey Andante für das Klavier mit unterlegtem Texte …, Ludwig Maisch, Vienna, 1814.

Number A 43 corresponds to the theme and variations of Op. 25, and No. A 44 to the theme and variations of Op. 26, but in G major. [According to Dorfmüller, both A 43 and A 44 derive from the themes of Op. 25; cf. Dorfmüller, p. 303.] Lenz did not cite the first piece of the collection Das Glück der Liebe, which is derived from the theme of the piano variations No. 176 of the GA, Series 17 [WoO 77].

According to information provided by Fritz Kaiser, Hess Anhang 45 is identical with Op. 75 No. 1, with a new text added by Princess Luise zu Wied, published in 1844 in Bonn by J. M. Dunst under publisher’s catalogue number 144. Numbers A 46 and A 47 have not yet been identified.

[The identity of No. A 46, “Lebensglück”, and No. A 47, “Abschied”, both to texts by Tiedge, may be sought in an edition of these two pieces published by Zulehner in Mainz and, after 1818, by Schott, under the title Zwei Lieder von Tiedge (publisher’s catalogue number 105c).

Number A 46 is in fact the song with piano accompaniment Das Glück der Freundschaft, Op. 88, under the new title “Lebensglück”, while No. A 47 is in fact La partenza, WoO 124, originally with an Italian text by Metastasio and now, under the title “Abschied”, with a German text.

Hess gives the impression of knowing these two songs only through Wilhelm von Lenz’s list, without being aware of their complete publication and the history of their translation. Cf. Kinsky/Halm, pp. 245–246 and pp. 586–587.]

Thanks to Luigi Bellofatto for having succeeded in locating this rare score.