Biamonti 207 – March and rondo, unused sketches for the Piano Sonata in B flat major Opus 22, first half of the 1800s. On the first page of a sheet owned by the Library of the Paris Conservatory (Max Unger, page 108/71), containing a large sketch for the first movement of the Sonata in B flat major Opus 22, there is also a sketch of the march in A major, continued in the versus with the cue, also in A major, of what will later become,  in B flat, the theme of the final Rondo of the sonata.

Prod’homme (Sonates, pages 92, 95 and 96) finds a connection between the theme of this March and another in C minor (hear MP3), followed by an Allegretto Rondo in the same tone, quoted by Nottebohm (Beethoven’s Zweite, page 63, chapter VII), where, in addition to some sketches for the finales of the first, third and sixth Quartets of Opus 18,  there is also mention of others for Opus 22 and for the piano variations on an original theme in G major (identical, in the cue, to that of a couplet in the rondo of the sonata itself); and hypothesizes that the march in question was originally to be introduced in the sonata. But the theme then remained unused. That of the Allegretto – Rondo in C minor, which recalls a bit the Rondo (in the same tone) of the Pathetic Sonata and the Opus 18 Quartet number 4, appears instead as the contrapuntal part of the viola in the coda of the Andante cantabile with variations of the Opus 18 Quartet number 5: something already noted by Nottebohm at the time.