WoO 32 – Duet, in E flat major, for viola and cello “mit zwei obligaten Augenglasern”
I) (No time signature) – II) Adagio (Hess 24) – III) Minuet – IV) Final (Kafka page 79)
WoO 32 – Duet, in E flat major, for viola and cello “mit zwei obligaten Augenglasern” 1795 – 1798. – published as follows. Bruers 298 – KH. (WoO)32 – Hess 22, 23, 24 – Peters 63.
The original manuscript is in the Kafka collection of the British Museum. The curious addition to the title: “mit zwei obligaten Augenglasern” (… with two pairs of obligatory glasses) is a playful allusion to the weakness of eyesight of the first two performers: who were, perhaps, Beethoven himself (who had practiced as a violist in the Bonn electoral orchestra) and Zmeskall.
The work falls into the category of small compositions for two instruments (in our case not frequently paired together) determined by some particular technical reason or more probably by the desire to please musician or amateur friends: such as the Sonatina for two flutes, the Duets for clarinet and bassoon, the various pieces for mandolin and piano, the Opus 17 sonata for piano and horn. The first movement, published in Leipzig, Peters, in 1912, by Fritz Stein, is in a clear sonata form and balanced structure.
The fragment of the second movement, which is found on the same sheet (23 bars of viola only) was published in facsimile and in print, by Willy Hess in Musica, November 1953. The minuet was published by Carl Haas in 1952 by Peters Hinrichsen, London. All three times were later included by Hess in the sixth issue of the supplements zur G.A. 1963. Here is Hess’s description of these pieces, which he named Hess 22, 23 and 24:
- I) Duo (Sonata Time) in E flat major for viola and cello, entitled Duett mit 2 obligaten Augengläsern (Duet with two pairs of obligatory glasses), composed in 1795. The autograph is in the Kafka Sketchbook at the British Museum (Add. Ms. 29801 ff. 135-137). [Now located at BL. The Kafka Sketchbook was edited by Joseph Kerman and published under the title Autograph Miscellany, ca. 1786 to 1799, British Museum, London 1970.] The first edition of the Duo was published in 1912 by Fritz Stein for C.F. Peters in Leipzig. [Catalogued in Kinsky/Halm, p. 472, as WoO 32. A second edition, as well as the edition of the two pieces that follow, has been published by Hess in SBG, vol. VI, 1963, p. 7. In that edition, all three catalogue numbers, i.e. 22-24, were grouped and catalogued under WoO number 32, thus reinforcing the belief that they were intended as movements of the same work and not as three separate works.]
III) Minuet in E flat major for the same instruments as the previous number [, viola and cello]. The autograph is in the same sketchbook (folio 119). [See the reference to the Kafka Sketchbook in the previous issue.] The first edition was published by Karl Haas in 1952 for Peters/Hinrichsen in London. Haas suspects that this is the second movement of the Augengläserduett. [See footnote to number 22 above.]
- II) Fragment of a slow movement, of 23 bars, in C major for the same instruments (viola and cello); autograph in the same sketchbook (folio 137). The first edition was published by W. Hess in Musica, November 1953, in facsimile and transcription. Cf. also the reference made by Willy Hess, in the same journal, in his article Beethovens Augengläserduett — ein Torso?, where the hypothesis is advanced that the fragment in C major is the programmed second movement and that the Minuet is the third movement of the Augengläser duets. The possibility that Beethoven planned a finale for the complete opera is also discussed. [See footnote to number 22 above.]
A few words about Nicolaus Zmeskall von Domanovetz: from the first years of his stay in Vienna, Beethoven had formed a friendship with the Hungarian Nicolaus Zmeskall von Domanovetz (1759-1833), an official of the Court Chancellery, which he maintained throughout his life, dedicating to him the Serious Quartet in F minor opus 95 in 1810.
Zmeskall was a good musician (composer, cellist, author among other things of various Quartets) and had a very devout feeling for the master, manifesting it in the most diverse ways: from a subordinate artistic collaboration, playing with him privately in quartet or duo, to the handling of business and the provision of more modest services, in many small contingencies of common life (search and preparation of accommodation, various commissions, care of stationery).
He had to have a good character to adapt meekly to the buffoonish epithets, and not always too kind, that Beethoven gave him from time to time by reason of confidence, also rewarding him with non-existent or counterfeit noble titles. A devoted friend, in every way, until his death.
Duet, in E flat major, for viola and cello “mit zwei obligaten Augenglasern” page I of the manuscript, first movement.
Duet, in E flat major, for viola and cello “mit zwei obligaten Augenglasern” page II of the manuscript, first movement.
Duet, in E flat major, for viola and cello “mit zwei obligaten Augenglasern” page III of the manuscript, first movement.
Duet, in E flat major, for viola and cello “mit zwei obligaten Augenglasern” page IV of the manuscript, first movement.
Duet, in E flat major, for viola and cello “with two obligate glasses” page V of the manuscript, first movement. Twenty-three bars for viola alone, for a possible second movement. (Hess 24)
Duet, in E flat major, for viola and cello “mit zwei obligaten Augenglasern” manuscript, Minuet (Hess 23) and sketch (at the foot of the page) of a fourth movement.
