Page 4 - NW-UM0008-Maestoso-and-Fugue-for-String-Orchestra

Preface

Both the Quintettsatz in D minor Unv 7 Hess 40 and the unfinished, originally intended Fugue in D minor
date from November 1817. It was the publisher Tobias Haslinger who requested a prelude and fugue
for a publication in line with works published earlier.

Beethoven completed the opening of the Quintettsatz but with the Fugue he stopped after merely four
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bars of music. The short original fugue theme was later inserted into the second part Molto vivace of
the Ninth Symphony in D minor Opus 125.
The Quintettsatz in D minor Unv 7 Hess 40, Beethoven did not give any time indication, starts with 37
bars of solemn music followed by 12 bars of what supposedly should have been an allegro, which
in turn forms the connection to the Fuga. In terms of form, rhythm and key, this material is very
similar to the aforementioned Molto vivace from the Ninth Symphony in D minor Opus 125.
The present version has been arranged for a string orchestra instead of for a string quintet, thus being
the first publication which enables it to be performed in its entirety.
In order to balance the fundament, I opted for introducing a contrabass part, which largely follows the
cello part composed by Beethoven. As regards the phrasing, dynamics, and rests as well as the time
indication, this publication follows those in Willy Hess’ publication. So the prescribed time 'Adagio moltoꞌ
is therefore not from Beethoven himself. 2+3

The arguments to link the Quintettsatz in D minorUnv 7 Hess 40 to the Fugue in D major Opus 137
published later are multiple. In the first place, the Fugue also dates from 1817. Secondly, the key is the
same as is the number of instruments for a string quintet with two separate alto parts. Not only does
the original fugue theme start at the tone a, but the timing also is the same, namely 3/8. So it seems
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reasonable to assume that Beethoven intended both works as a couple.

The divergent rhythmics of the bars 38 up to and including 49 is remarkable. I have preserved it
because the part has been authentically composed by Beethoven, while it did not seem logical to me to
have it immediately followed by the Fugue completed by myself. I have composed a number of bars of
music based on the beginning of the Quintettsatz by way of a smooth transition. In the Fugue, I closely
adhere to Beethoven, at the same time introducing a contrabass part here as well, so as to support the
cello.
At a number of places in the score, Beethoven recorded neither music nor rests. This refers to bars: 5,
second viola and cello; 11, 12, 25 and 26, first and second violins; 39 to 41, all parts; 43 and 44, all
parts except the first violin; 45, first viola and finally 45 and 46, second violin. As in Willy Hessꞌ
publication, I have just inserted rests here.

Cees Nieuwenhuizen

1 Alan Tyson, Beethoven Studies, 1973, p. 232.
2 Willy Hess, Supplemente zur Gesamtausgabe VI, 1980
3 Willy Hess, Beethoven, Amadeus 1976
4 Joseph Schmidt-Görg, Beethoven Werke, Section VI, Volume 2, 1968, p. VIII, p. 147 and p. 157
Other sources:
Jonson/Tyson, Sketchbooks, p. 349, Oxford Clarendon Press, 1980
Kynsky/Halm, Beethoven, 1955, p. 417

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