Biamonti 230 – Two fragments in F major and D major, Landsberg notebook 7, page 20, 8/8 bars (Mikulicz page 20). 1800.
The musical examples and texts on this page are by Graziano Denini
Biamonti 230 – Two Fragments in F Major and D Major, Landsberg 7 Notebook, Page 20, Staves 5 and 6 (Mikulicz Page 20). 1800
The first fragment, in F major and 3/4 time, presents a melody that oscillates between major and minor, and may possibly be connected to the second movement of the Violin and Piano Sonata Opus 24, which was the subject of study in these pages of the sketchbook.
The second fragment, which follows immediately after the first, is in D major and 2/4 time, beginning with an anacrusis (see note below). To the repetitive right-hand melody—a descending D major scale that concludes with chromatic motion on the second degree—is opposed a chromatic ascending figuration in minor thirds in the left hand. It remains unclear to which work this fragment may be related.
Karl L. Mikulicz: A Pioneer in Beethoven Sketchbook Studies
Karl L. Mikulicz was a distinguished early 20th-century scholar whose name is closely associated with the publication and decipherment of Beethoven’s sketchbooks, particularly the Landsberg 7 manuscript. His work is notable for its methodical reproduction of Beethoven’s jottings, which he approached with both philological rigor and editorial sensitivity.
In a 1927 facsimile edition, Mikulicz published the Landsberg 7 sketchbook, a crucial source containing early material for works such as the String Quartets Op. 18. His edition remains one of the earliest attempts to present Beethoven’s sketches in a faithful visual format, preserving the layout, ink density, and even the smudges and corrections that reveal Beethoven’s compositional process.
Mikulicz advocated what he called the “ideal solution” for sketchbook publication: A complete facsimile reproduction accompanied by a detailed decipherment and commentary, allowing scholars to compare the original manuscript with a modern transcription and analytical notes.
This approach was later echoed by institutions such as the Beethoven-Haus in Bonn and the Glinka Museum in Moscow, which continued the tradition of publishing Beethoven’s sketchbooks in multi-volume editions combining facsimile, transcription, and commentary. Though Mikulicz may not be widely known outside specialist circles, his contribution laid the groundwork for modern Beethoven research, especially in the study of unrealized fragments and compositional evolution.