Время создания: конец 1797 / начало 1798 гг.
WoO 18, 19, 24, 29:
Карл Лайстер, Peter Geisler (кларнет),
Gerd Seifert, Manfred Klier (валторна),
Gunter Piesk, Henning Trog (фагот).
This little march is surrounded by controversy and much complexity. First, its instrumentation of pairs of clarinets, horns and bassoons takes it out of the world of the typical band piece. Yet, its colors and character rather root it in that domain. But its history is where the real problems and controversies emerge.
In a slightly altered version, this work showed up as No. 25 in a 1932 publication of 32 pieces written by (Franz) Josef Haydn for Flötenühr (musical clock). Was this a misattribution? Apparently not. Another version of the piece for Flötenühr appeared in the early-1800s entitled, "Grenadier March arranged by Ludwig van Beethoven." The word "arranged" suggests, of course, that the composer did indeed use music by Haydn for this work. Moreover, the "Grenadier" march, technically speaking, was for musical clock, not for wind ensemble. The second version of this piece, probably written at the same time the musical clock version was composed, is simply known as "March in B flat for 2 clarinets, 2 horns and 2 bassoons." Hess even assigned a number to the "Grenadier March" as Hess 107, considering it a different piece from the WoO. 29 work.
In any event, the "Grenadier March" contains the Haydn march, a mere 20 bars long, and some added music by Beethoven in the way of a transition. It is, in effect, an arrangement for Flötenühr of the WoO. 29 March for wind ensemble. As for its musical worth, it is an attractive but ultimately lightweight work, not of great significance in the composer's oeuvre. The wind-ensemble version was published posthumously.
(Robert Cummings, Rovi, answers.com)