Biamonti 812 – Sketches probably intended for the Andante in the third movement of the String Quartet in A minor, Opus 132, February – August 1825
Biamonti 812 – Sketches probably intended for the Andante in the third movement of the String Quartet in A minor, Opus 132, February – August 1825
(Deroda, pages 88–90)
These sketches are found in the De Roda Sketchbook on the following folios: 3-recto (line 1), 4-verso (lines 7–8), 5-recto (lines 5–7–8–9–10), 5-verso (lines 3–5–7–11), 6-recto (lines 5–6)
Biamonti likely did not examine the manuscript directly but instead reported the analyses summarized by De Roda in his book: A Notebook of Beethoven Autographs from 1825.
De Roda writes: “Among the materials for this quartet are thematic sketches for the Andante. Some remain mere indications of motifs, while others, more developed, present the theme in full. The last one, in F-sharp minor, is especially noteworthy—not only for its sorrowful and tragic character, so genuinely Beethovenian, but also for the space he left in its composition.” [Examples labeled a to f follow.]
Biamonti 812a – Found on Folio 3-recto, Line 1
Biamonti 812b–c – Found on Folio 5-recto, Lines 5–7–8
I disagree with De Roda’s version: as seen in the manuscript at the beginning of line 7 (last two notes), Beethoven clearly writes two eighth notes, not two sixteenth notes as De Roda claims. Additionally, I interpret the six initial sixteenth notes as a double triplet. We still need to understand the symbol preceding this figure, which also appears on line 8: should we consider it an eighth note or a flat sign? Regarding the second double triplet on line 8, I also disagree with De Roda, who writes six B-flats (though the clef indicating exact pitch is missing); Beethoven writes two sixteenth notes on the third staff line followed by four more on the lower line. Final note: I believe the key is F major, as found in the previous fragment, to which this one might be connected. Beethoven’s intention to begin a fugato is nonetheless clear. I present both versions so you can form your own opinion.
Biamonti 812d – Found on Folio 5-recto, Lines 9–10
Aside from the first note of the second voice, which De Roda identifies as B but I believe is A, I agree with the version presented in the book’s analysis. In my view, however, the fragment does not continue but ends here. Again, Beethoven’s intention to begin a canon or fugato is evident.
Biamonti 812e – Found on Folio 5-verso, Lines 3–5
These are two distinct fragments. Neither clefs nor key signatures are indicated. Both have tempo markings: “Adagio” for the first, “Andante scherzoso” for the second.
Biamonti 812f – Found on Folio 5-verso, Lines 7–11
Biamonti notes in the margin: “another 9 bars follow,” almost suggesting a single 14-bar theme. In reality, these are three distinct fragments: the first is 8 bars, the second 3, the third 3 (with a tempo change in the last). De Roda continues: “The following motifs, although without tempo indication, may also have been intended for the Andante of this quartet.” [Examples g–h follow.]
Biamonti 812g – Found on Folio 4-verso, Lines 7–8
Here too, Beethoven’s intention to create a fugato is clear. Compared to De Roda’s edition (and thus also To Biamonti), I offer my own review.
Biamonti 812h – si trova nel foglio 6-recto righi 5-6
L’analisi di questi schizzi prosegue nel Biamonti 813.
