Biamonti 233 – a) Fragment in D major, b) Minuet in A-flat major, c) Fragment in D-flat major

Landsberg 7 Notebook, Page 33, Staves 1–4, 3–4, and 5–6. Measures: 9, 8/4, and 3. (Mikulicz Page 29). 1800

These three fragments, occupying staves 1 through 6 of this page, are brief thematic ideas or annotations for other works Beethoven was studying at the time. The remainder of the page is blank.

a) Fragment in A-flat major

Located on staves 1–4, comprising 9 measures, this is a canon at the octave between the right and left hands. Both hands move in descending sixteenth-note scales in thirds.

Noteworthy details include:

• The emphasis on accidentals in the upbeat of the first measure and in the corresponding canon of the left hand.
• The absence of repeated naturals on E in measures 5 and 6.
• The diminished third interval (E♮–D♭) in measure 6, which is not replicated in measure 8 (or perhaps it is, as in measures 5–6?).

b) Minuet in A-flat major

Located on staves 3–6, comprising 8 + 4 measures with repeat signs and a “da capo” indication.

Biamonti erroneously attributes this entire fragment—the longest and most complete on the page—only to staves 3–4. In reality, it extends across the next two staves as well.

The formal structure of this Minuet is thus: AABABA → (8 + 8 + 4 + 8 + 4 + 8 measures)

c) Fragment in D-flat major

Located on staves 5–6, comprising 3 measures.

This fragment consists of a seventh chord arpeggio, with added notes, mirrored between the two hands. The key is not indicated (Biamonti suggests D-flat major), so it could be interpreted differently.

Given that the two preceding fragments are in A-flat major, I would also consider this third fragment to be in the same tonal sphere.

It may be a sketch for an accompaniment to the Violin and Piano Sonata Op. 24; similar fragments appear on page 29, staff 9, and pertain to the first movement of that Sonata.