Biamonti 188 – Sketch for the Beginning of the Quartet Opus 18 Number 2, Second Half of 1798 – 1799
The musical examples and writings on this page are by Graziano Denini.
Biamonti 188 – Sketch for the beginning of the quartet Opus 18 number 2, first Grasnick notebook, page 9 (Nottebohm, page 477), second half 1798 – 1799.
It is found in Grasnick 1 on folio 5r lines 1-2. Biamonti writes: ” Nottebohm (II, p. 477) reports only the first two bars. The more extensive quotation (8 bars) of Mersmann [Kammermusik, p. 80] that we have reported here, allows us to identify with greater certainty the destination of the draft.” Moreover, Biamonti writes only the upper staff, violins I and II of this sketch, completely omitting the lower one which would correspond to the voices of the viola and cello. It should be noted that Beethoven indicates it as “quartet 2″. to Nottebohm (II p. 477): ” Zwischen den Arbeiten zum Quartett in D-dur findet sich, ausser vielen nicht benutzten Entwürfen, eine Anzahl von Aufzeichnungen, welche zum Theil von Interesse sind. Aus der Ueberschrift eines nicht benutzten Entwurfes zu einem Quartett (S. 9) ist zu entnehmen, dass als am Quartett in D-dur gearbeitet wurde, ein “Zweites” Quartett noch nicht geschrieben war; und hieraus ist zu folgern, dass von den sechs Quartetten Op. 18 das dritte der Entstehung nach das erste ist.”
? Comparison Between the Sketch and the Final Version of Op. 18 No. 2
| Element | Sketch (Biamonti 188) | Final Version (Op. 18 No. 2) |
|---|---|---|
| Date | 1798–1799 | Composed between 1798–1800, published in 1801 |
| Label | Marked by Beethoven as “quartet 2” | Published as No. 2, but chronologically the third composed |
| Musical Material | Only 8 bars, quoted by Mersmann; lower staff (viola and cello) omitted | Full movement: Allegro in G major, sonata form |
| Key | Presumably G major (not explicitly stated) | G major |
| Structure | Opening theme idea, likely intended for the first movement | Playful and elegant sonata form with development and recapitulation |
| Style | Fragmentary, only upper voices (violins) | Refined and witty, often nicknamed “the quartet of compliments” |
| Manuscript Notes | Found in Grasnick Notebook 1, folio 5r | No surviving autograph; known through published score |
Observiations
- The sketch presents an embryonic thematic idea, possibly intended as the opening of the first movement. Beethoven either abandoned or transformed it significantly.
- The final version is much more developed: the first movement features a lively main theme and a contrasting second theme in D major, both elaborated with finesse.
- Haydn’s influence is evident in the structure and thematic treatment, but Beethoven adds his own voice, with unexpected dynamics and a playful recapitulation.
