Biamonti 549 – Fragment of the Finale of the Sonata in G Major for Piano and Violin, Opus 96
Unknown version, Autumn–Winter 1812
Biamonti 549 – Fragment of the Finale of the Sonata in G Major for Piano and Violin, Opus 96
Unknown version, Autumn–Winter 1812
This fragment is preserved in the Library of the Paris Conservatoire. It consists of two pages mentioned by Max Unger (M.U. pp. 104/60). We thank the BNF for the valuable PDF.
This is a sketch already quite advanced and written “almost” as a fair copy, though with some inaccuracies or, more precisely, some corrections. For example, in the first beat of the fifth staff of the violin part (staff 17), we find ten semiquavers; given the excessive proximity between the initial rest and the following semiquaver, one might consider the note as a replacement for the rest, thereby creating a measure of introduction to the repetition of the melody in the violin, as found in bar 8.
The melody breaks off at the end of the first staff on the second page (measure 32). From measure 33 onward, a fugato begins for piano solo, whose counterpoint appears to be in dotted quarter-note triplets. As can be seen in the following images, Beethoven does not write the quaver beam in the upper voice of the right hand and repeats this figuration in the dyads of the following measure (still in the right hand), in the upper voice of the left hand in the fourth measure of the fugato (image no. 1), and again three measures later in the right hand (example no. 2).
It is somewhat difficult to believe this was a mere oversight. One might instead hypothesize an attempt—later abandoned in the final score—to continue the fugato with a counterpoint in triplet quarter notes. To avoid excluding either hypothesis—oversight or intention—we present both.
Comparative Analysis: Biamonti 549 vs. Final Version of Op. 96 Finale
Source: Fragment from Autumn–Winter 1812 vs. Published Sonata in G Major for Piano and Violin, Op. 96
| Aspect | Biamonti 549 (Fragment) | Final Version (Op. 96 Finale) |
|---|---|---|
| Manuscript Status | Advanced sketch, nearly fair copy, with corrections and ambiguities | Fully engraved and published version |
| Location of Manuscript | Conservatoire Library, Paris | Published by Breitkopf & Härtel (1816) |
| Structure | Breaks off at measure 32; fugato begins at measure 33 for piano solo | Continuous development with integrated violin and piano roles |
| Fugato Treatment | Fugato in piano only; counterpoint possibly in dotted quarter-note triplets; rhythmic ambiguity due to missing beams | Fugato is more traditionally structured, rhythmically clarified, and shared between instruments |
| Notational Peculiarities | Missing quaver beams in RH and LH suggest either oversight or experimental triplet counterpoint | Clean notation with resolved rhythmic figures |
| Expressive Content | Suggests exploratory contrapuntal writing, possibly abandoned | Refined, lyrical, and balanced interplay between violin and piano |
| Melodic Development | Melody halts abruptly; violin re-enters with thematic repetition | Thematic material is fully developed and recapitulated |
| Editorial Hypotheses | Possible intention to use triplet quarter-note counterpoint, later discarded | Final version opts for clarity and ensemble cohesion |
| Historical Insight | Reflects Beethoven’s compositional process and experimentation | Represents Beethoven’s mature chamber style, composed for Archduke Rudolph |
The Biamonti 549 fragment offers a rare glimpse into Beethoven’s creative decision-making. The fugato section, with its rhythmic ambiguity, suggests he was testing contrapuntal textures that ultimately didn’t make it into the final version. The absence of beams and the use of dyads imply a triplet-based counterpoint, which may have been deemed too complex or stylistically inconsistent with the rest of the sonata.
In contrast, the final version of Op. 96 is elegant and cohesive, showcasing Beethoven’s lyrical restraint and dialogic balance between piano and violin. The fugato is integrated seamlessly, and the movement closes with a sense of graceful resolution, befitting its dedication to Archduke Rudolph.
Third and fourth measures of the fugato
Seventh measure of the fugato
