striving, that he was true to his first concept and carried out the projected form to the end. The contrary is also true at times, and the sketchbook (like others) disclosed a few instances in which Beethoven in the course was led from the form originally conceived into another, so that eventually something different appeared from what was planned in the first instance. (Once more.) In general it may be observed that Beethoven in all his work begun in the sketchbook proceeded in the most varied manner, and at times reached his goal in a direction opposite to that upon which he first set out. [At times] the thematic style dominates; the first sketch breaks off abruptly with the principal subject and the work that follows is confined to transforming and reshaping the thematic kernel at first thrown on the paper until it appears to be fitted for development; then the same process is undertaken with intermediary sections; everywhere we find beginnings, never a whole; a whole comes before us only outside of the sketchbook, in the printed composition where sections which were scattered in the sketchbook are brought together. [In other cases] the thematic manner is excluded; every sketch is aimed at a unity and is complete in itself; the very first one gives the complete outline for a section of a movement; those that follow are then complete reshapings of the first, as other readings directed towards a change in the summary character, or a reformation of the whole, an extension of the middle sections, etc. Naturally, the majority of the sketches do not belong exclusively to either of the two tendencies, but hover between them, now leaning toward one, now toward the other.