Ludwig van Beethoven, "Mignon", Gesang für Singstimme und Klavier op. 75, Nr. 1, Überprüfte Abschrift

Doubtful witness

Beethoven's setting of "Kennst du das Land? wo die Zitronen blühn" from Goethe's "Wilhelm Meister" appeared in October 1810 as no. 1 of op. 75. The Lied was exceptionally popular and even in later years was included in arrangements (e.g. for guitar and voice) in anthologies with Lieder and songs ("Philomele, eine Sammlung der beliebtesten Gesänge" or "Damen-Journal für das Pianoforte"). The autograph score of this Lied has gone missing. The most important handwritten source is the engraver's model shown here. Beethoven carefully checked the manuscript made by the copyist, prepared it for printing and released it for printing. From an editorial point of view the manuscript therefore has the same status as an autograph score. But we would still like to know what happened to the autograph. Did Beethoven give it to Bettina Brentano as she claimed in her correspondence with Goethe? In August 1810 Beethoven is said to have written the following to her, "I am sending you "Kennst du das Land" written by myself as a reminder of the hours where I became acquainted with you. I am also sending you the other one, which I have composed since taking my leave of you, dear dearest heart." But Bettina Brentano, who had married Achim von Arnim in 1811, had a colourful imagination. Beethoven is supposed to have written her a total of three letters, which she herself quotes. Yet only one of these letters exists in its original form. The authenticity of the other two, including the one from August 1810, is very questionable. For instance it is curious that Beethoven is supposed to have given Bettina the autograph score of a Lied in August 1810 which he had already composed the year before. The two did actually meet - in 1810 Bettina had visited her half-brother Franz Brentano in Vienna, who was a close friend of Beethoven's - and struck up a friendship. However the intimacy which comes to light in the above quote would probably not have occurred between them. In the end it cannot, however, be ruled out that Bettina Brentano did actually possess the autograph score for op. 75 no. 1, despite the doubts raised here. (J.R.)