11. William Kinderman, “Thematic contrast and parenthetical enclosure in the piano sonatas, op. 109 and 111,” in Zu Beethoven: Aufsätze und Dokumente 3, ed. Harry Goldschmidt (Berlin: Verlag Neue Musik, 1988), 43–59, esp. 46. For Glenn Stanley, resisting Kinderman’s hearing, “the dramatic contrasts that the second group presents are all part of the dialogic process.” See his “Voices and Their Rhythms in the First Movement of Beethoven’s Piano Sonata Op. 109: Some Thoughts on the Performance and Analysis of a Late-Style Work,” in Beethoven and His World, ed. Scott Burnham and Michael P. Steinberg (Princeton and Oxford: Princeton University Press, 2000), 99.