Opus 122 Bundeslied, for soloists (soprano, alto, tenor) and four-part choir, with accompaniment of 2 clarinets, horn, violas, and cellos.
I) Allegro
Opus 122 Bundeslied, for soloists (soprano, alto, tenor) and four-part choir, with accompaniment of 2 clarinets, horn, violas, and cellos, published in the Supplement to the GA, 1888. GA. no. 268 (series 25) – B. 258 – KH. p. 354.
The original manuscript of the score is located in the Bayerische Staatsbibliothek in Munich; the manuscript of the piano reduction (without vocal parts) is in the Deutsche Staatsbibliothek in Berlin. The sketches are provided by Nottebohm. Text by Goethe.
The phrase In geselligen Kreisen zu singen is written on the handwritten score. The jubilant feeling of brotherhood that pervades the five stanzas has some similarity to that of the Ode to Joy in the Ninth Symphony, to which it responds in spirit, even though its melodic simplicity differs. The theme is consistently reiterated as a refrain by the soloists (always in pairs), repeated each time by the choir. In the final stanza, a broader cadence emerges, where the arpeggiated clarinet part stands out in the instrumental accompaniment.
[By Biamonti Giovanni – Catalogo cronologico e tematico delle opere di Beethoven comprese quelle inedite e gli abbozzi non utilizzati, Torino, ILTE 1968]
Official title: Opus 122 Bundeslied (B-dur) nach einem Gedicht von Johann Wolfgang von Goethe für zwei Solostimmen, Chor und Blasinstrumente Widmung: — NGA X/2 AGA 213 = Serie 22/4 SBG V/24 (Klavierauszug, Quelle 1.3, Hess 92)
Composition and publication: A previous version was probably written for an academy held by the tenor Wilhelm Ehlers in December 1822. From mid-1824, Beethoven revised it into its final version. On 11 February 1825, a model for engraving was sent to Schott in Mainz, where the original edition appeared in July of the same year, in full score, parts, and piano reduction. There may have been an earlier version of Bundeslied as a Lied for piano, but this cannot be dated with greater precision. The only indication for this hypothesis is a sketch written on a sheet of paper dating from around 1795. However, judging by the style of writing, the notations for Bundeslied seem much more recent. Anton Schindler reliably reports that „beide [Op. 121b und Op. 122 in den ersten Versionen] 1822 für den Tenoristen Ehlers zu dessen Benefice-Concert in Preßburg [del 23.12. 1822] geschrieben worden“. Beethoven’s intention to revise the earlier version is indicated in a letter to his brother Johann from the end of May 1824, where he asked for patience regarding the model for the engraver: „so wie ich auch in dem Bundeslied noch etwas nachzusehen habe, u. deswegen auch wenigstens auf einen tag noch bey mir haben muß“ (BGA 1844). Sketches of this revision, which were probably not completed in the autograph until January 1825, date from around the middle of the year. Opus 122 is one of the works that Beethoven left to his brother Johann in the summer or autumn of 1822 in exchange for a loan. Both brothers took care of the sale of these compositions in the following two years. Beethoven sold Bundeslied along with Opferlied Op. 121b and the aria Op. 128 to Schott; originally, all three were to bear the opus number 121, “Drei Gesänge” (see Op. 121b).
According to the publisher’s catalogues, the printing of Bundeslied was completed simultaneously with Opferlied on 23 July 1825. The authenticity of the piano reduction of Op. 122 (Hess 92) is assured by the autograph. Text: Johann Wolfgang von Goethe, “Bundeslied” (1789), in: „Goethes Schriften“ vol. 8, Leipzig 1789. Then with slight modifications in: „Goethes Werke“, vol. 1, Tübingen 1806. The first performance of Op. 122 is not recorded in the printed version. In early January 1826, Karl Holz commented on Bundeslied in the Konversationshefte: „Ich habe das Opferlied, Bundeslied, und die Ouverture dem Vivenot [one of Beethoven’s doctors] gezeigt. – Das Bundeslied wünschte ich zu hören, mit der Cadenz der Clarinette.“ A few pages later, probably on the same day, he added: „Ich mußte recht lachen über die originelle Stelle im Bundeslied, wo sich die Clarinette lustig macht“ (BKh 8 P. 251). This has led to the conclusion that the work was probably performed during those days.
The sketches will be featured in an article specially created for the Beethovenian Music Research Center, www.lvbeethoven.org
