Biamonti 279 – Allegro (Schm. XV) | Beethoven Music Research Center www.lvbeethoven.org

Biamonti 279 – Allegro (Schm. XV), about 1800

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

Biamonti 279 – Allegro (Schm. XV), about 1800

This sketch appears in the notebook published by Arnold Schmitz, Beethoven – Unbekannte Skizzen und Entwürfe, Bonn, Beethoven-Haus, 1924. It is preserved—like the other sketches from Biamonti 266 to 285—in a bifolio designated BH 114, held by the Beethoven-Haus in Bonn.

As with the previously mentioned sketches, this one was also analysed by Arnold Schmitz, who describes it as follows:

“Skizze XV gibt eine Eröffnung (Vorhang), zu welchem Stück, läßt sich nicht ohne weiteres vermuten. […] Stil so bezeichnende rhythmische Umstellung eingearbeitet, welche die Taktauffassung einen Moment ins Wanken bringt.” (Sketch XV constitutes an opening (curtain-raiser) to a piece, though it is not immediately clear to which one. […] It incorporates a rhythmical shift so characteristic of Beethoven’s style that it momentarily unsettles the perception of meter.)

Analytical Notes: Upon close observation, one notices that Beethoven does not indicate accidentals (F♯ and A♭) at the end of this fragment. Since this was a personal sketch, Beethoven naturally knew which notes to play. We are also uncertain about the A natural found at the end of measure 3, immediately followed by an A♭. In my edition, I have chosen to retain the A natural in measure 3 (bass clef), and to include the F♯ and A♭ in the final two measures.

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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