Official title: „Opus 121b“ Opferlied (E-dur) nach einem Gedicht von Friedrich von Matthisson für Sopran, Chor und Orchester Widmung: – NGA X/2 AGA 212 und 268 = Serie 22/3 und 25/5 SBG V/23 (Klavierauszug, Quelle 1.4, Hess 91)

Composition and publication: A first version of the Opferlied for three solo voices, chorus, and orchestra was probably written for a performance on 23 December 1822 in Pressburg (Bratislava). Beethoven revised it into its final form in November/December 1824. On 4 February 1825 an engraving model was sent to Schott in Mainz, where the original edition appeared in July of the same year in full score, parts, and piano reduction. A setting of the Opferlied as a song for voice and piano had been published by Simrock in 1808; the first sketches for this composition date back to 1794, see WoO 126. While the authenticity of the piano reduction of Op. 121b is guaranteed by the surviving autograph transcription, it survives only as a transcript: “Der Klavier-Auszug scheint nicht von Beethoven verfertigt zu sein, weil er sonst wohl vollständiger sein dürfte.” (BamZ 3, 1826, 9 August 1826, p. 253.) Armin Raab, however, argues—on the basis of various indications—that this piano reduction too is to be considered authentic (Raab/NGAX/2, p. 253). Opus 121b is one of the works Beethoven handed over to his brother Johann in the summer or autumn of 1822 in exchange for a loan (BGA 1901). Both brothers concerned themselves with the sale of these compositions over the following two years.

As early as May 1822, Carl Friedrich Peters in Leipzig had approached Beethoven for compositions to be published by his firm (BGA 1465), and later, responding to Beethoven’s offers at the beginning of June, requested among other things “songs for pianoforte” (BGA 1468f). In a reply dated 26 June 1822, Beethoven mentioned three songs he intended to entrust to Peters (BGA 1473). More than six months later, on 8 February 1823, Beethoven delivered a parcel of manuscripts to the wholesalers Gebrüder Meißl for forwarding to the Leipzig publisher (BGA 1560f). Among the engravings it contained were “three songs” intended to appear together: the Opferlied Op. 121b, the Bundeslied Op. 122, and the arietta Der Kuß Op. 128. Concerning Opus 121b, Beethoven explained in a letter of 15 February: “wie ich als Künstler handle, werden sie sehn an den Gesängen, der eine ist mit Begleitung von 2 Clarinett 1 Horn, Bratschen u. Violonschellen – u. wird entweder ohne Klawier-Begleit. allein mit diesen Instrumenten oder mit Klawier u. ohne selbe Instrum. gesungen” (BGA 1570). As the detailed information on the scoring shows, this refers to an earlier version of the Opferlied, which was sung in Pressburg on 23 December 1822. On 20 February 1823 Beethoven sent the publisher some remarks concerning the engraving of the piano reduction (BGA 1575), but on 4 March he received the manuscripts back with a rejection from Peters (BGA 1604).

Peters wrote of the three songs: “Statt 3 schon größeren durchgeführten Liedern mit Pianof. senden Sie mir nur Eine Ariette und 2 Lieder mit Orchestre-Begleitung und zugleich für Pianof. Dergleichen Lieder mit Orchestre habe ich nicht erbeten, indem ich dergleichen schon manches gute liegen habe aber deren Ausgabe nicht liebe, denn für etwas schon größeres für Gesang sind solche Sachen gewöhnlich nicht groß genug, nun könnte ich zwar die Instrumentalbegleitung weglassen und solche bloß für Pianoforte herausgeben, allein da beide Lieder mit Chören sind, so verfehle ich den Zweck, den ich dabei hatte.” (BGA 1604).
In the months that followed, offers were made to Pacini in Paris, Lissner in St Petersburg, Steiner and Leidesdorf in Vienna, Probst in Leipzig and, finally—around 23 November 1824—to Schott in Mainz: “Drey Gesänge, wovon zwei mit Chören u. die Begleitung von einem vom Klawier allein oder mit Blasenden Instrumenten allein [Op. 122 in the revised version], vom ändern die Begleitung mit dem ganzen Orchester oder mit Klawier allein [Op. 121b in the revised version], der 3te Gesang ganz ausgeführt ist bloß mit Klawier allein [Op. 128]” (BGA 1901). Johann van Beethoven’s announcement of 29 December 1824 that the engravings had already been completed (BGA 1918) was probably premature, for the manuscripts were only sent on 4 February 1825 (BGA 1931).

In August 1825 the two works were published together with Op. 128 in Caecilia (3, 1825, Intelligenzblatt 11) by Schott, alongside Op. 121b and Op. 122 in full score, parts, and piano reduction.

The sketches will be featured in an article specially created for the Beethovenian Music Research Center, www.lvbeethoven.org