This is still another arrangement of Klaerchen's song from Egmont (op.84) for voice and piano, this time in F. Clearly Beethoven struggled to find the proper key for the song. The piano part is again rather sketchy, even moreso than Hess 94, which at least had a bass line for the introduction. The different versions are not mere transpositions, however. There are some important clues that of the four versions found on The Unheard Beethoven, Hess 95 came first. In this version, the bass line move downwards in the first section, whereas all of the other versions and the final composition all move upward with the melody. The melodic line is a bit simpler as well, at measure 14 using straight 8th notes instead of inflected 16th notes. The fast section contains a number of differences, primarily in the piano part; the triplets begin two measures earlier, on Klaerchen's long held note, and the repeated 16th notes at the beginning of the fast section of Hess 94 here are in a tremolo. Once again, we are privy to the adjustments to get the piece into the final, perfect version. The piece is contained in the manuscript Artaria 177(3), and is presented here thanks to the Staatsbibliothek in Berlin. Unpublished and unrecorded, this is a world premiere for the Unheard Beethoven.