Opus 46 Adelaïde, Einsam wandelt dein Freund, cantata for voice and piano
Larghetto
Opus 46 – Adelaïde, Einsam wandelt dein Freund, cantata for voice and piano op. 46, dedicated to Friedrich Matthisson, 1795 – 1796, published in Vienna, Artaria, February 1797. GA. no. 216 (series 23/2) – Boett. III/6 – Bruers 46- KH 46- L. II, page 247- Nottebohm 46- Petters 82- Thayer 43.
The original manuscript has been lost. A sketch survives at the Beethovenhaus, and others are mentioned by Nottebohm, who transcribes some fragments. Around three years after its composition, Beethoven sent the work to Matthisson, the author of the poem, along with a notable letter of dedication. In the first part of his collected poems, published in 1815, Matthisson accompanied the text of Adelaide with the following note:
« Various masters wished to give musical life to this small lyrical fantasy; but none, according to my inner conviction, has cast the text into such deep shadow as the brilliant Ludwig van Beethoven. ».
The enthusiastic reception this cantata received at the time of its publication, and which it continued to enjoy for many years — so much so that in 1860 De Lenz still found it “as fresh” as if it had been newly composed rather than written at the end of the previous century — may seem somewhat exaggerated to modern ears. However, to say this is not to consign the work to mediocrity.
The first stanza unfolds entirely in the home key of B-flat major, with a melodic line of serene and unbroken linearity. The second stanza expands through a more fragmented phrasing, shaped by short motifs and coloured by modulations to C and F, which enrich the harmonic palette. This type of phrasing — full of stops and starts — lends the vocal line a quality of yearning that becomes more pronounced in the third stanza. Here, the darker hues of B-flat minor and D-flat major, combined with increased agitation in the accompaniment, confer a distinctly Romantic character and originality of expression.
The fourth stanza (Allegro molto), corresponding in spirit and form to the final section of a classical aria, returns firmly to the tonal realm of B-flat major. However, it now shares in the emotional animation of the preceding two stanzas, made more perceptible — at least outwardly — by the liveliness of the tempo, if not by a deeper expressive integration.
A copy of the edition published by Simrock in Bonn has been studied as part of the ‘Research becomes Art’ project. Those wishing to learn more about the topic can click here.
The Text:
Einsam wandelt dein Freund im Frühlingsgarten,
Mild vom lieblichen Zauberlicht umflossen,
Das durch wankende Blütenzweige zittert,
Adelaide!
In der spiegelnden Flut, im Schnee der Alpen,
In des sinkenden Tages Goldgewölken,
Im Gefilde der Sterne strahlt dein Bildnis,
Adelaide!
Abendlüfte im zarten Laube flüstern,
Silberglöckchen des Mais im Grase säuseln,
Wellen rauschen und Nachtigallen flöten:
Adelaide!
Einst, o Wunder! entblüht auf meinem Grabe
Eine Blume der Asche meines Herzens;
Deutlich schimmert auf jedem Purpurblättchen:
Adelaide!
Official title: „Opus 46“ Adelaide nach einem Gedicht von Friedrich von Matthisson für Singstimme und Klavier
Dedication: Friedrich von Matthisson
NGA XII/1 No. 14 – AGA 216 = Series 23/2
The song was sketched between the end of 1794 and 1795, and was probably not completed until 1796. The first edition was published in February 1797 by Artaria in Vienna. The earliest sketches appear on sheets Beethoven used during his studies with Johann Georg Albrechsberger. The vocal lines were likely written during the final months of his instruction (from autumn 1794 to March 1795), or shortly thereafter. Beethoven probably composed the more extended drafts, closer to the final version, in 1795 (Johnson/Fischhof vol. 1, pp. 131f, 147f; Lühning/NGAXII/1 KB, pp. 17f). Since we can rely only on the publication date of February 1797, it is possible that the composition was not completed until 1796.
The Hoffmeister & Kühnel edition (mid-1803) is far more accurate than the original version published by Artaria. It is likely that Hoffmeister had Beethoven revise a copy of the Artaria edition. Simrock based his own edition (1803/04) on a copy received from Ferdinand Ries. To date, no printed editions or manuscript copies of Adelaide have been found containing Beethoven’s autograph corrections.
Text: Friedrich von Matthisson (1761–1831), Adelaide, first published in the Musen Almanach für 1790 (Hamburg), edited by Johann Heinrich Voß, pp. 65f; reprinted in Gedichte von Friedrich Matthisson, 3rd enlarged edition, Zurich 1794, p. 50.
Dedication: Friedrich von Matthisson, born on 23 January 1761 in Hohendodeleben near Magdeburg, died on 12 March 1831 in Wörlitz near Dessau. After studying theology and undertaking extended travels (1794–1811), he became the reader and travelling companion of Princess Luise von Anhalt-Dessau (1812–1828), and later served as theatre director and chief librarian in Stuttgart. Ennobled in 1809 by King Friedrich of Württemberg, he was one of the most celebrated poets of his time (BGA 47, note 1).
On 4 August 1800, Beethoven sent Matthisson a printed copy of the song, writing:
“Die Dedikation betrachten sie Theils als ein Zeichen des Vergnügens, welches mir die Komposizion ihrer A. gewährte, Theils als ein Zeichen meiner Dankbarkeit und Hochachtung für das Seelige Vergnügen, was mir ihre poesie überhaupt immer machte und noch machen wird“ (BGA 47).
Although Matthisson’s response is unknown, in the appendix to the complete edition of his poems, published in Tübingen in 1811, he wrote of Beethoven’s setting:
„Mehrere Tonkünstler beseelten diese kleine lyrische Phantasie durch Musik; keiner aber stellte, nach meiner innigsten Überzeugung, gegen die Melodie den Text in tiefere Schatten, als der geniale Ludwig von Beethoven zu Wien.“
Beethoven went on to set other texts by Matthisson (see WoO 112 and WoO 136).
Adelaide was initially published by Artaria (as was common at the time for shorter vocal works) without an opus number. A chronologically inappropriate number was later assigned to it in the Catalogue des Oeuvres, appended by Artaria to the publication of the Hammerklavier Sonata Op. 106 in 1819. That same year, Friedrich Hofmeister listed Adelaide in his thematic catalogue (Hofmeister/Verzeichnis 1819) as Op. 48, while simultaneously assigning the Gellert-Lieder as Op. 32 and the scena Ah! perfido as Op. 46 (cf. Op. 48 and 65). Nevertheless, Artaria’s numbering prevailed.
The first performance remains unknown. On 23 December 1814 (erroneously cited in TDR III p. 488 as having occurred on 25 January 1815), the tenor Franz Wild (1792–1860) performed Adelaide at a court concert in Vienna. He was accompanied on the piano by Anton Teyber (1754–1822), and not—as previously assumed—by Beethoven himself (communication from Rita Steblin).
According to the memoirs of court singer August Barth, recounted by his son in 1845, Beethoven once showed him the new manuscript of the song but intended to throw it into the fire. Barth sang the piece to him, persuading Beethoven not to destroy it (Kerst/Erinnerungen vol. 1, p. 31).
On 25 December 1818, Wilhelmine Caroline Becker performed the song with orchestral accompaniment at a concert of the Prager Tonkünstler-Societät (Steblin/Chotek, pp. 237f).
Sketches: (1) A-Wgm, A 35, one sheet. Date: end 1794 / early 1795 (Johnson/Fischhof Vol. 1 p. 1250. (2) A-Wgm, A 75 II, file 7, folio 35versus. Date: end 1794 / early 1795 (Johnson/Fischhof Vol. 1 p. 1250. (3) F-Pc (in: Pn), Ms 40, recto. Date: Early 1795 (Johnson/Fischhof Vol. 1 p. 132). Facsimile: Gallica. (4) D-BNba, Coll. H. C. Bodmer, HCB Mh 62. Date: early 1795 (Johnson/Fischhof vol. 1 p. 448-454), facsimile: DBH/online, further facsimile: Seyfried/Studien nach p. 352. (5) D-B, Mus. SM. autogr. Beethoven Artaria 149, p.12.
Sketches for bars 90-93. Date: probably 1795 (Johnson/Fischhof vol. 1 p. l47f and 153), facsimile: SBB. description in: Nottebohm/Beethoveniana ll p. 538. (6) GB-Lb,. Ms. 29801 (“Kafka”), folio 44. Date: second half of 1795, facsimile and transcription: Kerman/Kafka. (7) Draft title: D-BNba, BH 99. Date: early year 1796/97 (DBH/ online), facsimile: DBH/online. First edition: 1797 (February). Wien, Artaria et Comp., VN/PN 691. – Title: “ADELAIDE VON MATTHISSON / Eine Kantate / für eine Singstime / mit Begleitung des Clavier / In Musik gesezt und dem Verfasser gewidmet / von / LUDVIG VAN BEETHOVEN / In Wien bey Artaria et Comp. /
Sigismund Fortuné François Thalberg Transcriptions, arrangements, and fantasies on works by Beethoven
Adelaide, transcription for solo piano, Opus 70, from the Lied for voice and piano, Opus 46.
Sigismund Thalberg: A Virtuoso of the Romantic Era
Sigismund Fortuné François Thalberg (1812–1871) was a Swiss-born Austrian pianist and composer, widely regarded as one of the foremost virtuosos of the 19th century. Born in Geneva, he was believed to be the illegitimate son of Prince Franz Joseph von Dietrichstein and Baroness Susanna Micaela Wetzlar. His early musical education included studies with prominent figures such as Ignaz Moscheles, Friedrich Kalkbrenner, and Johann Nepomuk Hummel.
Thalberg made his debut at the age of fourteen and quickly gained recognition for his exceptional technique and expressive style. By the mid-1830s, he had established himself across Europe, performing in London, Paris, and Vienna. His rivalry with Franz Liszt became legendary, culminating in a public concert duel in 1837 that showcased the distinct brilliance of both artists.
Renowned for his operatic paraphrases and dramatic fantasies, Thalberg developed a signature technique that allowed him to project a melody in the middle register while surrounding it with intricate arpeggios and figuration—a hallmark of his pianistic innovation. His compositions, including the Fantasia on Rossini’s Moïse, Capriccio Op. 15, and Concerto in F minor Op. 5, were celebrated for their theatrical flair and technical demands.
Thalberg toured extensively, captivating audiences in Germany, Spain, the United States, and Brazil. His American tour (1856–1858) sparked a phenomenon dubbed “Thalbergmania,” with admirers flocking to witness his performances. In 1843, he married Francesca Lablache, daughter of the famed bass Luigi Lablache, and later settled in Naples, where he devoted himself to teaching and helped establish the Neapolitan piano school.
He passed away in Naples in 1871, leaving behind a legacy of virtuosic artistry and pedagogical influence. Today, his contributions are honored through institutions such as the International Sigismund Thalberg Study Center and the Sigismund Thalberg International Piano Prize, both based in Naples.
