Beethoven’s sketches to his Symphony No. 3 in E-flat (“Eroica”), Op. 55, have interested scholars since Nottebohm’s pioneering study of the Eroica Sketchbook in the late nineteenth century.1 According to Lewis Lockwood (1982, 119), “Nottebohm’s transcriptions and commentary . . . opened up a larger body of genetic material for the Eroica than anyone could have anticipated, and laid a basis that has yet to be seriously challenged or drastically modified.