In Beethoven’s just as extensive as impressive chamber music oeuvre, four pieces have for decades been vainly awaiting company in the Henle catalogue under the heading Mandolin and Piano. They occupy a special position in several respects, based, first of all, on their slightly exotic scoring, then, furthermore, in conjunction with the Prague Countess Josephine von Clary-Aldringen, one of the not so few women in Beethoven’s life with whom he was possibly associated, and not merely artistically. At the same time, these pieces, comprising just 16 score pages altogether, also combine a surprising number of interesting questions about matters of their history and editing that make taking a closer look at this fringe repertoire definitely worthwhile.
