19. There is reason to believe that in this earlier phase, for a brief moment in the spring of 1820, the movement may have been conceived as one of a group of bagatelles for Friedrich Starke’s Wiener Pianoforteschule. The evidence is marshaled in Artaria 195: Beethoven’s Sketchbook for the Missa solemnis and the Piano Sonata in E Major, Opus 109, 3 vols., ed. William Kinderman (Urbana and Chicago: University of Illinois Press, 2003), I: 16, 22, 26, 35, 74, 96 and passim. If this were the case, then this “kleine neue Stück,” as it was called in a conversation book from April 1820, “then assumes a yet more radical role, poised between the increasingly complex rhetoric of sonata as fantasy, on the one hand, and a new aesthetic in which the fragmentary, aphoristic, distracted utterance is much prized,” as I wrote in a review of Kinderman’s edition; see “To Edit a Sketchbook,” in Beethoven Forum 12/1 (Spring 2005): 94.