WoO 18 – WoO 19 – Two Marches in F major for military orchestra, for the carousel in honor of the glorious name day of the “Imperial and Royal Majesty Maria Lodovika”
I) Allegro – II) Allegro
WoO 18 (19) – Two marches in F major for military orchestra, for the carousel in honor of the glorious name day of the “Imperial and Royal Majesty Maria Lodovika”, 24 August 1810, published in the Supplement to the GA., 1888. GA. no. 287, I and II (series 25/24, I and II) – B. 145 -KH. (WoO) 18 and 19 – N. p. 140 (for the first only) -T. 147 and 157
Official title: WoO 18 Marsch Nr. 1 (F-dur) Marsch für die Böhmische Landwehr bzw. Zapfenstreich Nr. 1 für Militärmusik Widmung: – NGA II/4 und VII/8 (Klavierauszug) AGA 287 I = Serie 25/24,1 (2. Fassung) SBG TV/2 (3. Fassung, Hess 7) und VIII/11 (1. Fassung, Klavierauszug, Hess 99) Beiname: Yorckscher Marsch (nach dem Arrangement für türkische Musik von 1817/18)
They are two versions of the Marches listed as Hess 7 – Biamonti 501 and Hess 8 – Biamonti 517 (thus without the Trios added only in 1822–23) (see Biamonti 780 and Biamonti 781), with some differences in instrumentation: piccolo flute, 2 flutes, 2 clarinets in F, 2 clarinets in C, 2 horns, 2 trumpets, snare drum, bass drum, 2 bassoons, contrabassoon.
WoO 18 as Hess 6: This is the first version without Trio of Zapfenstreich No. 1, listed in Biamonti 780 (Hess 7) (first published by W. Hess in 1953–54 and later in the fourth issue of Supplemente zur GA, 1961). Originally dedicated to Archduke Anton Viktor Joseph, elder brother of Archduke Rudolf, who from 1804 was Grand Master of the Order of German Knights and owner (Inhaber) of the Hoch- und Deutschmeister Regiment, it was later intended by Beethoven for the Bohemian Landwehr (territorial militia).
In an autograph manuscript preserved in the central archive of the Order of German Knights in Vienna, the tempo marking reads: “Allegro in dem jetzt üblichen Tempo der Märsche” (Allegro, at the tempo now usual for marches). Another manuscript, formerly in the Preussische Staatsbibliothek (currently provisionally at the University of Tübingen library), has a pencil note at the bottom of the first page: “Ein Schritt auf jeden Takt” (one step per measure). An autograph piano reduction is held in the Paris Conservatory library. Sketches appear in Nottebohm, together with others for the Piano Concerto in E♭ major, Op. 73. The orchestra consists of piccolo flute, 2 oboes, 2 clarinets, 2 horns, 1 trumpet, triangle, cymbals, snare drum, bass drum, 2 bassoons, contrabassoon.
WoO 18 as Hess 7: Zapfenstreich No. 1 in F major for military band, 1809–1823, published by W. Hess in N. B. J., 1954, and later in the fourth issue of Supplemente zur GA, 1961. Orchestra: piccolo flute, 2 oboes, 2 clarinets, 2 horns, trumpet, bass drum, military drum, triangle, cymbals, 2 bassoons, contrabassoon. This is a new version of the March for the Bohemian Landwehr listed as No. 501, with the addition of the Trio. The original manuscript is preserved in the University of Tübingen library, a deposit of the former Preussische Staatsbibliothek holdings.
WoO 19 as Hess 8: March in F major for military orchestra, 3 June 1810, published by W. Hess in the fourth issue of Supplemente zur GA, 1961. Hess 8. This is the first version without Trio of Zapfenstreich No. 3, listed as No. 781. Orchestra: same as the March listed as No. 501. The original manuscript, preserved in the central archive of the Order of German Knights in Vienna, carries the dedication for His Royal Highness Archduke Anton, as with the March listed as No. 501. Another manuscript is preserved in the archive of the Society of Friends of Music in Vienna, with the indication: “Ein Schritt auf jeden Takt” (one step per measure).
WoO 19 as Hess 9: Zapfenstreich No. 3 in F major for military band, 1810–1823, published by W. Hess in N. B. J., 1953–1954, and later in the fourth issue of Supplemente zur GA, 1961. Hess 9. Orchestra: same as the previous Zapfenstreich. This is a new version of the March listed as No. 517, with the addition of the Trio. The original manuscript is lost, but the Trio manuscript is preserved in the University of Tübingen library, a deposit of the former Preussische Staatsbibliothek holdings.
Origin and publication: Beethoven composed the first version of the march in 1809 without a trio. A second re-instrumented version was written for a performance on 25 August 1810. Beethoven created the third version at the end of 1822/beginning of 1823 in the course of a planned publication, adding a trio to the first version. The original edition of the second version in parts was published in 1810/11 by the publisher Steiner in Vienna, while the first edition of the full score appeared posthumously in 1888 as part of the AGA by Breitkopf & Härtel in Leipzig. The first edition of the third version in full score appeared posthumously in the Beethoven-Jahrbuch in 1954. From the first version, there was a piano arrangement made at the beginning (probably 1809) by Schoedl and Haas in Prague, but the first edition of Beethoven’s piano reduction was published posthumously only after 1923 by Reinecke in Leipzig.
The sketches for the WoO 18 march are found among those for the first movement of the Piano Concerto Op. 73 of 1809 (Nottebohm/Schizzen 1809, p. 256). Beethoven transcribed a first version of the march without trio (Hess 6) in a score personally dated “1809” and dedicated it to Archduke Anton Viktor Joseph of Austria (1779–1835), Hochmeister of the German Order and plenipotentiary of the Hoch- und Deutschmeister Regiment with its own regimental music (later “K. und K. Infanterieregiment Hoch-und Deutschmeister Nr. 4”). In this context, Beethoven erased the dedication to the Archduke and replaced it with “Für die Böhmische Landwehr” (as the infantry regiments formed as a last reserve against French troops in the Bohemian lands from 1808/09 were called). An autograph copy of the score contains only the first dedication to Archduke Anton.
In the summer of 1810, Archduke Rudolf asked Beethoven to provide music for a “Carroussel” (a festive equestrian display) on 25 August in the gardens of Laxenburg Palace (BGA 462). For the occasion, Beethoven used the WoO 18 march and probably composed the WoO 19 march in the same key, which he had already sketched in the previous months. It is not possible to demonstrate to what extent Beethoven authorized the re-instrumentation carried out for this festival. However, since he immediately obeyed the Archduke’s order, his approval can be assumed.
Much later, probably at the end of 1822/beginning of 1823, Beethoven added a trio in B-flat major or F minor to the WoO 18 and 19 marches in the instrumentation of the first version, then intended to publish these third versions as Zapfenstreich Nr. 1 and Nr. 3 together with the WoO 20 and 24 marches as four “Militarische Märsche für Türkische Musick” to be sent to the publisher Carl Friedrich Peters in Leipzig for printing (see BGA 1468, first version). However, Peters refused the offer. Proposals sent to the publishing house B. Schotts Söhne in Mainz in 1825 (BGA 1966) and probably to Adolph Martin Schlesinger in Berlin in 1826 also met with no success (BGA 2222).
Beethoven wrote a piano reduction for the first version of WoO 18 in 1809/10, which, however, was published by Reinecke in Leipzig only after 1923. However, probably at the beginning of 1809 (KH), WoO 18 was published in a piano reduction (different from Beethoven’s arrangement and therefore presumably unauthorized) by Schoedl and Haas in Prague.
An original edition of the two marches WoO 18 and 19 was published only in parts from the second version: the 1810/11 versions have come down to us in the collective printing Carroussel-Musik at Steiner’s Chemical Printing House in Vienna (simultaneously with a piano reduction).
WoO 18 was published in 1817/18 by Schlesinger in Berlin in a further edition as No. 37 in number 8 of the Königlich Preußischen Armeemarschsammlung, for King Frederick William III of Prussia (Hess Anhang 2).
Sketches:
(1) March: F-Pc (in: Pn), Ms 73, pp. 25 and 27. Dating: early 1809 (Brenneis/Landsberg5, p. 22; JTW pp. 527–529), facsimile: Gallica.
(2) Trio: D-BNba, H. C. Bodmer Collection, HCB BSk 20/68, pp. 1–4. Dating: late 1822 (Brandeburg/Op. 125 p. 116), facsimile: DBH online.
Contrary to Sieghard Brandenburg’s hypothesis (Brandenburg/Op. 125 p. 110), the notes contained in the notebook “Artaria 201” on p. 125 cannot be assigned to the context of the trio sketches, but rather to the Missa solemnis Op. 123.
2nd version, score: D-B, Mus. SM. autogr. Beethoven Artaria 144. Dating: “1809”.
Provenance: Artaria Publishing Archive, Vienna. Probably acquired in auction No. 178 of 1827 (Johnson/Artaria p. 225). – Erich Prieger, Bonn, from 1897. — Acquired in 1901. Facsimile: SBB
3rd version, score: A-Wdo, Suppl. Mus. No. 19594, Sez. Mss. No. 433. Dating: “1809”.
Provenance: Archduke Anton Viktor Joseph of Austria. – Archduke Eugen of Austria. – Present, probably after April 1919 and before November 1920. Descriptions: Mühlenweg/NGA II/4 (in preparation). – SBG IV p. 100. – Vienna/Autographe p. 233.
WoO 18: Skizzen SV 175
WoO 19: Skizzen SV 90