¹ Op. 109 (Berlin: Schlesinger, November 1821), Op. 110 (Paris: Schlesinger, July 1822), Op. 111 (Paris: Schlesinger, April 1823).

² In its full context, Beethoven's remark is even more defective: ‘fällt ein cis mollu.[nd] in einer Fantasie schlieβt darin’, and Kramer's translation, ‘roughly’, as ‘interrupted in C# minor and, in a fantasy, closes there’ for once seems inadequate, ignoring as it does the fact that ‘in einer Fantasie’ was a later addition and itself requires some clarification, for example, ‘wie1 in einer Fantasie’. The full remark may, I think, be rendered somewhatless roughly as: ‘lands in C# minor and closes in that key, in the manner of a fantasy’.

³ Tyson, Alan, ‘The Mozart Fragments in the Mozarteum, Salzburg: A Preliminary Study of Their Chronology and Their Significance’, Journal of the American Musicological Society 34 (1981): 471–510.CrossRefGoogle Scholar

⁴ Oster, Ernst, ‘Analysis Symposium I: Mozart, Menuetto K. 355’, in Journal of Music Theory 10/1 (1966): 33,Google Scholar reprinted as ‘A Schenkerian View’, in Readings in Schenker Analysisand Other Approaches, ed. Yeston, Maury (New Haven, CT: Yale University Press, 1977):121-40, 122Google Scholar.

⁵ I once did a workshop with the Allegri Quartet, in which the first movement of op. 59, no.1 was played with the long repeat. The effect of the final return of the opening theme, fortissimo and in the violin's highest register, after 584 bars instead of a mere 347, was even more overwhelming than expected. (If only space for this experiment could have been found on the accompanying CD!)