Description
Ludwig van Beethoven (1770-1827) Bagatelles Op. 119 & Op. 126
11 Bagatelles for Piano, Op. 119 • Bagatellen für Klavier • Bagatelles pour piano
00:00 I. Allegretto
02:29 II. Andante con moto
03:29 III. A l'allemande
05:10 IV. Andante cantabile
06:53 V. Risoluto
07:56 VI. Andante - Allegretto leggiermente
09:52 VII. Allegro ma non troppo
10:58 VIII. Moderato cantabile
12:26 IX. Vivace moderato
12:57 X. Allegramente
13:11 XI. Andante, ma non troppo
6 Bagatelles for Piano, Op. 126 • Bagatellen für Klavier • Bagatelles pour piano
15:04 I. Andante con moto
18:21 II. Allegro
21:17 III. Andante
23:54 IV. Presto
27:53 V. Quasi allegretto
30:40 VI. Presto - Andante amabile e con moto
Piano: Alfred Brendel
Recorded in 1996, at London
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William Kinderman // Beyond the sonata and variation forms, Beethoven made a major contribution to the development of the bagatelle, a genre of short, lyrical or whimsical piano pieces. The best-known example is undoubtedly the famous album leaf Für Elise. Yet these seemingly modest works occupy a far more important place in Beethoven's creative output than their title might suggest. Some even originated as movements intended for larger compositions: the penultimate movement of the Piano Sonata, Op. 7, and the opening movement of the Sonata, Op. 109, were both initially conceived as bagatelles.
Later in his career, Beethoven gathered these miniature masterpieces into three collections: the Seven Bagatelles, Op. 33, the Eleven Bagatelles, Op. 119, and the Six Bagatelles, Op. 126, all included in this recording. Although the Seven Bagatelles, Op. 33, were published in 1802, several had been composed years earlier. The Eleven Bagatelles, Op. 119, published in 1823, combine works written between 1800 and 1804 with much later compositions, including two pieces that originated during the composition of the Diabelli Variations, Op. 120. The Six Bagatelles, Op. 126, completed in 1824, became Beethoven's last major work for solo piano.
The first five pieces of Op. 119 were sketched while Beethoven was still working on Op. 33 and were almost certainly revised before publication. Nevertheless, a clear stylistic divide separates these earlier works from the final six bagatelles, composed around 1820. Bagatelle No. 6 was probably intended as the conclusion of the earlier group. Its opening subtly bridges the rhythmic and harmonic language of No. 5, while its key of G major mirrors the G minor of the collection's opening piece.
The Bagatelles Nos. 2 to 5 explore remarkably diverse musical landscapes, ranging from delicate irony to rustic charm with yodel-like German folk motifs, from lyrical introspection to the abrupt decisiveness of the Risoluto. The psychological depth achieved in Bagatelles Nos. 7 and 8 is extraordinary, particularly in the two works derived from the Diabelli Variations, both written in C major. In No. 7, the principal motif first appears embedded within a dense polyphonic texture enriched by trills before evolving into a lively scherzando that gradually releases the musical tension. A striking rhythmic acceleration of the principal motif above a sustained bass trill culminates in an almost cathartic conclusion. Likewise, the Moderato cantabile (No. 8) shares motivic material with the Third Diabelli Variation. Its chromatic voice-leading and the meditative pause on B-flat create a powerful expressive contrast halfway through the piece.
The ninth Bagatelle possesses a graceful, dance-like character, while the tenth—a fleeting study in syncopation—achieves an extraordinary degree of brevity. It is the shortest piano work Beethoven ever composed and perhaps his most humorous, ending almost before it has begun. The collection concludes with a wonderfully poetic Andante, ma non troppo in B-flat major, whose sonorities evoke a string quartet and whose melodic contour recalls the opening of the Piano Sonata, Op. 110.
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