Piece for Piano: arrangement of Chr.F.D.Schubart's "Kaplied" by Beethoven (between 1788-1790)

Biamonti 20, Hess 63
About as minor as you can get. This is a reduction and fingering of a small lied of the blasphemous Christian Firedrich Daniel Schubart. The text of the work, written while Schubart was in prison, protests the sale of German citizens to foreign armies. For Beethoven scholars, this work holds a special interest apparently because Beethoven supplied his own fingering.
The folks at Unheard Beethoven have transcribed it for midi.

IMSLP

Beethovenhaus

Trio for Piano, Flute & Bassoon in G major (1786? – 1790?)

Biamonti 19, WoO 37
I guess flute, bassoon and piano trios aren't so numerous on the ground and so this may get performed quite a bit, but as they say, "To what end?" Beethoven provides us with a relatively pleasant piece, which, like an old uncle who tells a story that is just too long, old and tiring and wears out its welcome, encouraging you to hurry off somewhere even if you are enjoying it somewhat. The last movement, a theme and variations, is that way. It keeps going in relatively predictable ways. The first movement has some extension and alteration in the recap, which is worth noting. Written for the von Westerholt family in Bonn, whose members played these instruments and the bassoon part is high - often above middle C - apparently Beethoven wrote many other works for them, but they were destroyed in a fire.

IMSLP

Beethovenhaus

Cantata: "Kantate auf die Erhebung Leopold II zur Kaiserwürde" (1790)

Biamonti 18, WoO 88
Six months after the death of Joseph II, Beethoven was asked to compose this work on the Accession of Leopold II. The result is a rather amazing and, it seems, important work, particularly in the context of, of all things, the great Ninth Symphony. The keen listener will note several similarities: the "Sturzt neider Millionen" of the final choral exhortation, set in unision; the long held high notes in the Soprano, some imitation, but he doesn't know fugue yet, the quick string lines, all of which speak to a particular voice that is related to the voice of the composer of the Ninth.
The opening movement, is particularly interesting with its odd tempo changes leading up to the operatic moment in which the clouds part to reveal Leopold - this is something to behold: it begins like Handel’s great Zadok the Priest and then becomes something altogether different. The crazy soprano aria that reaches an almost comical level of virtuosity and with its equally comically virtuosic flute and cello parts - perhaps in reference to the Prussian rulers Frederick the Great (who played the flute) and Frederick Wilhelm (who played the cello) - Leopold and Joseph were said to be harpsichord players. All things considered, worth a listen. But again seek out Matthew Best's recording.
Recommended.

Cantata: "Trauerkantate auf den Tod Joseph II" (on the Death of Joseph II) (1790)

Biamonti 17, WoO 87
Written on the death of King Joseph, to the words of Severn Avedonk, this is something special, a rich eloquent statement. The opening chorus, which returns to close the work, is a deep ombra with long keening choral moments interspersed with individual utterances from the soloists and bold richly ornamented string lines - immediately the work takes on a high-class sheen while remaining emotional. The baritone rage aria is shockingly powerful, crass sforzandos and sharp staccatos in a rhythmically inventive setting. I'm impressed by the way that there is a "laying it out on the line" in the beginnings of these arias, it is as if the openings take the customary I-V-V-I and switch it into the world of the baroque with a statement of the idea of the aria - Joseph is dead - the voice entry then becomes part of an introduction. The soprano aria is elegant and peaceful. Some flaws perhaps, where Beethoven isn't quite sure how to develop, see for instance the line "Joseph, der vater unsterblicher thaten" in the opening chorus, in later works he would use fugal technique to ramp up the tension. But this is nitpicking, it is a remarkably successful work that deserves to be better known. Extra kudos on the recording I heard with the Corydon Singers and Orchestra under Matthew Best, which is far better than that of the Estonian Philharmonic Chamber Choir found in the Brilliant Classics complete edition.
Recommended

Unknown Part for Cello (1788)

Biamonti 16

It is suggested that this is a cadenza from the Leopold cantata (Biamonti 18): it is nothing special, some figuration, some compound melody, an arpeggiation and a trill ending. It was probably written by Beethoven
The good folk at Unheard Beethoven have created a midi version of this fragment.

Song: "Der Arme Componist" (The Poor Composer) (1788)

Biamonti 15
A rage aria over the difficulties of composing, found in the margin of a Bonn miscellany which also includes Biamonti 16. "Each note costs me twenty sweat drops"
The good folk at Unheard Beethoven have created a midi version of the song.

Song in F minor: "Elegie auf den Tod eines Pudels"; "Stirb immerhin, es welken ja so viele der Freuden" (c. 1787)

Biamonti 14, WoO 110
A work to add to the expanding list of dog-death songs along with that very early Ives song. Works like this encourages one to review the oft-argued contention that emotion brings forth music. It is multiple verses in the minor, followed by a verse in the major. Each verse takes two stanzas of the poem and sets them as an ABA. The verse in the major is a variant of that of the minor. From this the curious musicologist could write an article on the question of Beethoven's belief in the existence of poodle heaven.

Song in C major: "Trinklied (beim Abschied zu singen)"; "Erhebt das Glas mit froher Hand" (c. 1787)

Biamonti 13, WoO 109

A charming pubtune fully in volkstumliche style. This four-square folk style would eventually lead to Ode to Joy theme of the Ninth Symphony, placing it solidly in the Trinklied camp. A chorus enters at the end of each verse to give a rousing ovation to the tenor's admonition.

Piano Quartet in C major (1785)

Biamonti 12, WoO 36, #3
I can't actually come up with very much worthwhile to say about this, the third of the WoO 36 Piano Quartets. On the whole, it has no particularly special moments,. The Adagio features a particularly beautiful melody, which unfortunately Beethoven buries in ornamentation. As a consequence, the melody never really gets the time to speak. Beethoven would return to some of these moments in his first published set of Piano Sonatas.

IMSLP

Beethovenhaus

Piano Quartet in D major (1785)

Biamonti 12, WoO 36, #2
I didn't find anything particularly memorable or interesting about this Piano Quartet, the second of the three WoO 36 quartets. It does have some special moments a la Schumann at the ends of some of its movements, notably the pizzicati at the end of the second movement, but that's all that stands out from the generally pedestrian. The Rondo seems more assured, but it is ridiculous to make a statement like that at this stage in the boy's career.

IMSLP

Beethovenhaus