Biamonti 271 – Fragment for Piano, Schm. VI (BH 114) | Beethoven Music Research Center www.lvbeethoven.org

Biamonti 271 – Fragment for Piano, Schm. VI, about 1800

The musical examples and texts on this page are by Graziano Denini.

Biamonti 271 – Fragment for Piano, Schm. VI, about 1800. This sketch appears in the notebook published by Arnold Schmitz, Beethoven – Unbekannte Skizzen und Entwürfe, Bonn, Beethoven-Haus, 1924. The fragment is located on the first page of the bifolio designated BH114, held by the Beethoven-Haus in Bonn. It is found on the same page, immediately following Biamonti 270. Like all other fragments from this bifolio, it was analysed by Arnold Schmitz, who writes: “Bei den Nummern III, V, VI, XVI scheint es sich um ein Ausprobieren klanglicher Effekte zu handeln.” (Numbers III, V, VI, XVI seem to be experiments in sound effects.)

In this case, the effect Beethoven was exploring involves a descending progression of dominant sevenths in first inversion, with the leading tone in the bass, resolving regularly to the tonic. This progression moves from a hypothetical A-flat major to F minor. The left hand leaps from the leading tone to a doubling of the right-hand chord, two octaves below.

A Curiosity: In measure two, right hand, second beat, Beethoven likely intended to write C/D. However, in his haste and absorbed in the study of the sonic effect of the progression, he adds a small stroke to the D, inadvertently turning it into an F.

Arnold Schmitz – A Life in Musicology

Arnold Schmitz (11 July 1893 – 1 November 1980) was a distinguished German musicologist, renowned for his profound and lasting scholarship on Ludwig van Beethoven. Born in Le Sablon, near Metz, Schmitz pursued studies in musicology, history, and philosophy at the universities of Bonn, Munich, and Berlin. His mentors included prominent figures such as Friedlaender, Kroyer, Sandberger, Schiedermair, and Wolf. He earned his doctorate in 1919 from the University of Bonn with a dissertation on Robert Schumann’s early aesthetic views, and completed his habilitation there in 1921.

Schmitz held academic positions at the University of Bonn from 1921 to 1928, at Dortmund Conservatory from 1925 to 1929, and at the University of Breslau from 1929 to 1939. He then moved to Johannes Gutenberg University Mainz, where he taught from 1947 to 1961, also serving twice as rector (1953–54 and 1960–61). Later, he taught at the University of Basel from 1947 to 1967. His scholarly output includes several landmark publications: Beethovens “zwei Prinzipe” (1923), Unbekannte Skizzen und Entwürfe (1924), a pioneering study of Beethoven’s lesser-known sketches, Das romantische Beethovenbild (1927), a critical examination of the Romantic image of Beethoven, and Die Bildlichkeit der wortgebundenen Musik Johann Sebastian Bachs (1950), which explores the visual dimension of Bach’s text-based music. In 1973, the Beethoven-Haus in Bonn named him an honorary member in recognition of his lifelong contributions to Beethoven research. Schmitz passed away in Mainz at the age of 87. His legacy endures through his meticulous scholarship and his influence on generations of musicologists.

His work Unbekannte Skizzen und Entwürfe is especially relevant to our article on Beethoven’s works for mandolin, as it includes an analysis of the Clam-Gallas manuscripts. You can explore this connection in our dedicated research feature: Beethoven’s Works for Mandolin and Piano – Research by the C.R.M.B.

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