Biamonti 447 – Piano Passage, First Half of 1808Dagmar Weise, page 35, lines 1 and 2.
This fragment, together with the sketches listed from Biamonti 447 to 455, is found in the sketchbook known as the “Pastoral Symphony Sketchbook”, folio 17 recto, lines 1–2, alongside sketches for the third movement of the Symphony.Apart from his general remarks on the sketchbook, Biamonti does not provide any commentary on this fragment.

The entire section is designated by Biamonti himself as:“Unknown sketches and ideas found in the Pastoral Symphony sketchbook.”In his general commentary, Biamonti writes:“The sketchbook is so named because it contains, for the most part, drafts of the aforementioned symphony. It is preserved at the British Museum, and was published in reduced facsimile in 1961, with a rich array of historical and critical notes, and with description and illustration of each page, by the Beethoven-Haus, edited by Dr. Dagmar Weise.
It also contains sketches for the two Trios for piano, violin and cello Op. 70, as well as a few others for projected and unfinished works, or in any case left unused.
We reproduce these latter from the aforementioned publication (D.W.), indicating the respective pages and lines.
The sketches for the Pastoral Symphony were also briefly discussed in their time by Nottebohm (Zweite Beethoveniana, Chapter XVIII, pp. 252–254) and by Shedlock (Musical Times, January 1893, p. 14 and following).”Neither Nottebohm nor Shedlock provide any commentary regarding Biamonti 447.This fragment consists of a kind of pianistic cadenza, possibly intended for a concerto, featuring three similar scale passages in E major, played first by the left hand—Beethoven writes at the beginning of the passage “l. h.” (links Hand)—then by the right hand—in the second measure, in the lower staff, he writes “r. h.” (rechts Hand)—and finally together “in 8va”.

• The first passage consists of 12 sixteenth notes
• The second of 11 sixteenth notes
• The third of 19 sixteenth notes

Right hand  Left hand