Biamonti 318 – Sonata Seconda (Sketch), pages 186–190, Spring 1802

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

Biamonti 318 – Sonata Seconda (Sketch), pages 186–190, Spring 1802

Two sections (Nottebohm, Skizzen I, pages 35–36), respectively of 19 and 12 measures, found among the sketches for the first movement of the Piano Sonata Opus 31 No. 1. These fragments also echo, to some extent, the thematic material of the Sonata Op. 31 No. 2, as already observed in the previous entry (Biamonti 317).

These sketches are located in the Kessler Sketchbook, on folio 95r, lines 15–16, and folio 95v, lines 9–16. On folio 95r, we find the opening of the Sonata up to measure 9, followed by Beethoven’s typical notation “vi=”, which refers to the fragment below (line 16, from the midpoint onward).

The second section of the fragments, which likely corresponds to the end of the exposition of this Sonata, is found on the following page, lines 9–16. Biamonti writes that this second fragment consists of 12 measures; in reality, the count is 13, since the third-to-last measure is repeated, and therefore must be considered double.

Gustav Nottebohm, on pages 35–36 of his volume Ein Skizzenbuch von Beethoven, describes them as follows: “Zwischen den genannten Skizzen erscheinen auch Theile zu den beiden andern Sätzen derselben Sonate; ferner drei verschiedene Bruchstücke, jedes ‘Sonata 2da’ überschrieben.” [“Among the cited sketches also appear parts of the other two movements of the same sonata; furthermore, three different fragments, each titled ‘Sonata 2da.’”]

Sheet 95r lines 15-16

Sheet 95v lines 9-16

Johann Kessler: Biographical Note

Johann Kessler (fl. early 19th century) was a Viennese amateur musician and close associate of Ludwig van Beethoven. Although little is known about his personal life, Kessler’s name has become permanently linked to Beethoven scholarship through his custodianship of one of the composer’s early sketchbooks. His role was not that of a collaborator in composition, but rather as a recipient and preserver of Beethoven’s manuscript materials. The sketchbook later named after him—Kessler Sketchbook—was likely acquired directly from Beethoven or through his circle, and it remained in private hands until its scholarly rediscovery in the 19th century. Kessler’s legacy thus rests not on musical output, but on his inadvertent contribution to the preservation of Beethoven’s creative process.

The Kessler Sketchbook: Description and Significance

The Kessler Sketchbook is a bound manuscript containing musical sketches by Ludwig van Beethoven, dating approximately from 1801 to 1802, a period of intense compositional activity. It is catalogued among Beethoven’s early “desk sketchbooks,” used for developing thematic material, structural ideas, and orchestration plans. The book comprises numerous folios filled with fragmentary ideas, including early drafts for symphonic movements, piano sonatas, and orchestral dances.

The sketchbook’s importance lies in its documentary value: it offers insight into Beethoven’s compositional method during the transitional phase between his early and middle periods. It also contains unused or abandoned material, shedding light on the composer’s decision-making and aesthetic priorities. The Kessler Sketchbook has been the subject of detailed analysis in modern scholarship, notably in The Beethoven Sketchbooks: History, Reconstruction, Inventory by Douglas Johnson, Alan Tyson, and Robert Winter.