Piece for Piano in C major: "Lustig - traurig" (Merry - Sad) in C & c (1790)

Biamonti 26, WoO 54
Two tiny phrases for piano. As the title suggests, one is happy one is sad. The happy is in C major and triple meter, the Sad is in C minor, still triple meter but with a more Alberti-like bass. Fodder for semiologists who seek meaning in Beethoven's key choice.
Its dating has been the subject of speculation, being put at 1790, 1798 and 1820.

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6 Variations for Piano or Harp in F major: on a Swiss air (1790)

Biamonti 25, WoO 64, Grove 183
A comparison between this miniature set of variations and the previous entry, the Variations on Righini's "Venni, Amore" is particuarly telling. While both themes share a beginning that signals a closing, the approach to the two themes is radically different. The Righini variations take apart the theme in the manner we think of from Beethoven, the melody is lost, but the harmonic framework remains and itself becomes the subject of variation. This set of variations uses instead the shape and nearly entirety of the melody throughout, varying the setting in which it is placed. Almost Mozartean in style, it lacks any sort of surprise element. To call this tiny set of six variations on a miniscule Swiss song inconsequential would be to give it too much credit. It goes through the motions, maybe a little better than some but not many.

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Variations for Piano: on "Venni, Amore" by Vincenzo Righini (first version) (1790)

Biamonti 24, Hess 55, (WoO 65, Grove 177)
A set of variations on the Aria "Venni, Amore" by the pedestrian composer, singer and kapellmeister, Vincenzo Righini. Beethoven performed this set, none too delicately, as his debut as a pianist in Vienna. Biamonti 24 refers to what was thought to be an original edition of the work of the same title published in 1802 (Biamonti 299). Biamonti suggests that the original edition of this work was definitive as of 1801, but then lost. The Beethovenhaus-Bonn reports that a copy of this lost original edition was found in 1984 by the duo of Sieghard Brandenburg and Martin Staehelin and further reports that this edition and the more common 1802 edition are quite similar, making this version (biamonti 24) the only version and the latter version (Biamonti 299) an unnecessary duplication.
Musically we have 24 variations in D major on a quirky nothing of a theme. Beethoven seems to be drawn to two particular aspects of this small theme: the Lebewohl to decpetive cadence opening - such that the entire work seems to be the cadential part of a period - and the clash of G-natural versus G-sharp in the final cadential figure of the theme. Throughout, Beethoven plays with a number of topics and even brings about duet-like moments, both with register and meter. Most of the variations are interesting but don't get enough time to do anything extra special, the final few are particularly nice and feature a surprise move to the Neapolitan. Worth seeking out.

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Song in E major: "Klage"; "Dein Silver schien durch Eichengrün" (1790)

Biamonti 23, WoO 113
A ballad-y song awash in sentimentality, it has a sound close to what we would expect from Schubert. Beginning in E major and ending in e minor, its B section is over a palpitating accompaniment. Rangy and oddly intriguing.

Song in G major: "Punschlied"; "Wer nicht, wenn warm von Hand zu Hand" (1789-1790)

Biamonti 22, WoO 111, Hess 126
A rather cheery little drinking song in a volkstumliche style. Only the first verse has survived. Harmonically unadventurous; perhaps good for pedagogy.

2 Sonata Movements for Piano in F major (1788 – 1790)

Biamonti 21, WoO 50, Hess 53
Written for Beethoven's friend Franz Gerhard Wegeler, Biamonti 21 consists of a brisk opening movement for piano and a fragmentary allegretto. It took me some time to get my fingers around this awkward first movement, but after doing so, it became rather fun to play. The phrases aren't what you'd expect, and the Alberti bass plays some tricks on you as well - Beethoven puts in a little countermelody at some point. The second sonata movement is a tender pastoral in 3/4. Published in the Ninth volume of the Hess addenda.

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