Chapters in this book

1. Frontmatter i
2. Contents vii
3. Introduction 1
4. ONE. On Beethoven's Sketches and Autographs: Some Problems of Definition and Interpretation 4
5. TWO. The Autograph of the First Movement of the Sonata for Violoncello and Pianoforte, Opus 69 17
6. THREE. Beethoven's Sketches for Sehnsucht (WoO 146) 95
7. FOUR. Eroica Perspectives: Strategy and Design in the First Movement 118
8. FIVE. The Earliest Sketches for the Eroica Symphony 134
9. SIX. The Compositional Genesis of the Eroica Finale 151
10. SEVEN. Planning the Unexpected: Beethoven's Sketches for the Horn Entrance in the Eroica Symphony, First Movement 167
11. EIGHT. The Problem of Closure: Some Examples from the Middle-Period Chamber Music 181
12. NINE. Process versus Limits: A View of the Quartet in F Major, Opus 59 No. 1 198
13. TEN. On the Cavatina of Beethoven's String Quartet in B-flat Major, Opus 130 209
14. ELEVEN. Beethoven's Autograph Manuscripts and the Modern Performer 218
15. APPENDIX I. Physical Features of the Autograph Manuscript of Opus 69, First Movement 235
16. APPENDIX II. Beethoven's Correspondence on the Text of Opus 69 237
17. APPENDIX III. Use of Additional Staves in the Autograph of Opus 69 243
18. APPENDIX IV. Provisional List of Variants in the Autograph of Opus 69 (excluding variants discussed in text) 245
19. Notes 248
20. Credits 276
21. Index of Compositions, Sketches, and Other Documents 278
22. General Index 281