Biamonti 71 – Counterpoint in octaves, composed around 1794, preserved in the Library of the Paris Conservatory (Max Unger, ibid. ibid.).

This contrapuntal sketch is preserved in the Bibliothèque du Conservatoire de Paris, now part of the Bibliothèque nationale de France. It is catalogued by Max Unger and appears in the same manuscript that contains: the Minuet WoO 209 (both piano and string quartet versions), the instrumental sketch in C major (Biamonti 70) and an orchestral sketch for the Piano Concerto Hess 14

This grouping suggests the manuscript was a compositional workbook used by Beethoven during his studies with Albrechsberger, around 1794, when he was rigorously trained in counterpoint and formal structure.

Title: “Contrappunto all’ottava”, meaning “Counterpoint in octaves”.

It is a canon or imitative exercise, where the second voice enters at the interval of an octave above the first. The sketch is brief, lasting 22 seconds in its audio realization. Contrappunto all’ottava is a classic pedagogical device in species counterpoint, where imitation occurs at the octave. Beethoven’s exercise likely reflects Albrechsberger’s teaching method, which emphasized strict imitation, voice leading, and intervallic control. The sketch is not intended for performance, but rather as a technical study in imitative writing.

This fragment contributes to our understanding of Beethoven’s early contrapuntal training, which later influenced his mature works (e.g., the Grosse Fuge, Op. 133). It shows Beethoven’s discipline in mastering foundational techniques, which he would later subvert and expand in his late style.

Audio Example Performed by Graziano Denini Duration: 0:22 You can also find a piano interpretation by Cullan Bryant on Youtube