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Author: Mark S. ZimmerLength: 19:54Piano Sonata 'quasi una Fantasia' in D, Biamonti 213 (1792-93?)This composition was fully sketched by Beethoven in a more or less continuous melody line; the first Allegro is nearly complete (only the left hand is missing occasionally), the Andante less so, and the final Allegro is very much fragmentary. The original is found the in Kafka Miscellany in the British Museum, pages 90r-95r.
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The paper appears to be that used by Beethoven at the end of his time in Bonn.After consideration, it appears clear that this work (which is not given a name by Beethoven) is a work in three distinct movements, although the third movement is anticipated through a lengthy quotation in the first movement. As such, it seems to be an unrecognized piano sonata. We present here Willem's completion of the continuity draft, in both MIDI and mp3 formats. The completion sticks quite closely to the continuity draft, with a few necessary expansions to the Finale to deal with some crude transitions that surely would have been reworked had Beethoven finished the sonata.Joseph Kerman, who transcribed this sketch, gives it as title: 'Composition (fantasia?) in D/d'. It is easy to understand why Kerman uses the word 'fantasia', as well as his question mark.
The piece has the size of a full-blown sonata (21 minutes), but the structures of all 3 movements deviate from what one expects of a sonata, therefore it seems not quite right to call it that. But it isn't a fantasy either, because it lacks the rapid mood changes and the improvised character you associate with a fantasy. It is more something halfway between Sonata and Fantasy; therefore we propose to call it a 'Sonata quasi una Fantasia'. Of course, Biamonti 213 dates from some 10 years before opus 27, the two sonatas which Beethoven called 'Sonatas quasi una Fantasia' himself (opus 27 nr.2 being the famous 'Moonlight' Sonata).It is perhaps true that many, if not all, pieces by Beethoven represent, in one way or another, a fine balance between the formal rules of classical structures on the one hand, and the freedom of improvisation on the other hand.
The formal rules help to give the music its strength, while the freedom adds freshness, and avoids the formal rules of becoming rigid. It seems that Biamonti 213 gives a very surprising, and unique solution for finding a balance between these two principles, which is the more surprising because this is such an early piece. The even earlier Trio WoO 37 (from 1786) demonstrates that Beethoven was already capable of writing a perfect sonata form, therefore the deviations from the classical structures in Biamonti 213 should on no account be mistaken for a lack of compositional skill. On the contrary, the structure of Biamonti 213 is, in spite of all its oddities, wholly convincing.The mood of the first movement is mainly one of a light and somewhat flimsy gaiety.
Much of the writing is contrapuntal, but it suggests more than it really is (cf. Hess 64, also on this site). This confirms the date of origin as from before Beethoven's lessons with Albrechtsberger. However, one should not be dismissive of such writing, rather, one should appreciate the new possibilities it offers.The head motif (D - C# - D) is the same Brahms, almost a century later, would use in his Second Symphony. At 1 minute 6 seconds into the recording a new theme, in the minor mode, occurs, which will later turn out to be the main subject of the Finale. The bass line for this theme is D - C# - D (-A), so clearly it stems from the head motif. In fact, the whole first movement is pervaded by its head motif, there being hardly a bar in which it doesn't occur in some way.
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