These simple sketches, which we present here in all their variants, are also interesting for observing the kind of study to which Beethoven subjected his themes and their transformations.

– By analysing these fragments, we immediately notice that at the end of the first measure of the sketch we have designated as Biamonti 276a, located on the first full staff, Beethoven writes a sort of comma which could be interpreted either as a curl on the preceding E (though ⅛ would be missing to complete the measure), or as a breath mark. In doubt, I have retained the transcription made by Schmitz.

In measure 4, the final quaver is written slightly larger and lower than the previous one; it could therefore also be a G.

In the final measure, in one of his classic graphic simplifications, Beethoven writes the end of the melody on G, complete with a bar line (though ¼ is actually missing to conclude the measure properly), and then adds in the following measure a dotted note and a passage of semiquavers B–C which reopens the melody, bringing it back two measures (which Beethoven highlights with a slur above the staff and the word “bis”). In my opinion—and contrary to the common belief that Beethoven often made mistakes in writing rhythmic values—in this case the Master of Bonn completed the measure with the two semiquavers and then decided that the best ending was the repetition of those two measures.

Finally, considering that the second staff was left blank, one might suppose that Beethoven originally intended to write the bass accompaniment as well.

Even more interesting is the analysis of the second sketch, Biamonti 276b. From the handwriting in these sketches—especially in the way he separates consecutive quavers and semiquavers—one might also think that these fragments were a preparatory study for a hypothetical Lied, later abandoned.

In these sketches, Beethoven’s effort to refine his melodies is clearly visible: In this one, located on the third staff of the page, Beethoven immediately finds a couple of variants for the ending, which he writes on the staves below, corresponding to the measures to be modified. (On this point, in his transcription of the second variant of the ending of this Lied, Schmitz writes in the penultimate measure the semiquavers A–F–E–G; in reality, upon closer analysis, the notes actually written by Beethoven are A–G–F–G.)

Upon further study, Beethoven also finds a variant for the beginning of the melody, which he notes at the bottom of the sixth staff, marking it with “##”, and which modifies the first three measures, identifying it with an “x”; and yet another variant, also marked with the sign “x”.

– Of this melody—which I believe should be considered the beginning of a Lied—Beethoven also writes the first three measures of the piano accompaniment, which we find on staves 4–5, and which we have catalogued as Biamonti 276c.

On this point, we disagree with Schmitz’s transcription: In the deciphering of the first of the two variants, identified with an “x” and placed below the sections to be modified, Schmitz writes a quaver D in the bass; in our view, it should be a C. As for the second variant, Schmitz indicates only the two semiquavers, without considering the underlying quaver, which is clearly a C and should be regarded as a bass note, to be played an octave lower.

Lastly, on staves 7–8, we find the third melody in this series of sketches, Biamonti 276d, which is in fact a complete variation of the melody from the beginning of the page.

Here too we observe some revisions and corrections, the first of which occurs in measure 3, where an E is cancelled and replaced with a C, and especially in the final movement, where there are two quaver E notes, the first more marked than the second, which could also be interpreted as a dotted note on the preceding E. (This version does not convince us, as it would perhaps overly homogenise this measure with the previous ones; we have therefore preferred the first solution, that of the two E quavers.)

We then find, in measures 4 and 5, two bar lines that become stems for minim D notes, and finally two repeated measures with the usual “bis” sign (a slur above the notes to be repeated, with the word “bis”), followed immediately by the word “oder” (or).

Schmitz left this entire melody intact. We have followed his approach, but we have also experimented with the various variants, which we present here.

Last but not least among these sketches, we find yet another variant of the melody from the beginning of the page, specifically of its second part, located in the second half of staff 8. This may well be the final version of the melody as decided by Beethoven.