General Overview

Bagatelle is a word derived from French, meaning "a trifle" or "something insignificant." There are three collections of works titled Bagatelles: Op. 33, Op. 119, and Op. 126. Only the last, Op. 126, was clearly conceived as a cycle from its inception. For Op. 119, Nos. 7–11 were first contributed to the third volume of Starke's Wiener Pianoforte-Schule and published in 1821. In 1823, Nos. 1–6 were added, and the collection was published in its current form by Clementi in London under the title 11 New Bagatelles (shortly thereafter, it was also published without Beethoven's permission by the Parisian publisher Maurice Schlesinger). Of the added Nos. 1–6, all except No. 6 are revisions of earlier works from around 1800–1804, showing a significant stylistic divergence from the later works, such as No. 6 and subsequent pieces, composed around 1820. Furthermore, given that Nos. 7–11 were composed and contributed together, they can be regarded as a kind of cycle. Indeed, the collection includes several pieces that reveal their true value when played consecutively rather than as independent works. For instance, No. 7 has a prelude-like character, and No. 10, lasting only about 15 seconds, serves as a 'spice' within the collection. Moreover, Nos. 7 and 8 share a common melodic fragment, which reappears in an expanded form in No. 11, demonstrating Beethoven's 'technique of transformation' employed in his late period. The first half is brimming with the flashes of early genius and vigor, while the second half is filled with the fantasy and romance of his late period. Their fusion is beautiful.[1]

Commentary on Each Piece

No. 1 Op. 119-1 in G minor

Allegretto (Somewhat fast)

Compound ternary form. The main section is simple, repeating an 8-bar phrase, yet it also possesses a mysterious quality. It begins with a languid dotted-rhythm anacrusis, descending as if drooping with the left hand's double stops. Although it then rises significantly with arpeggios, it again descends as if giving up. The middle section (from bar 25) shifts to E-flat major, a major third below, and while still centered on descending figures, it is full of tenderness and lyricism. The coda has an odd structure: the first phrase is 2+2+2 bars (6 bars), and the second phrase is 2+3+2 bars (7 bars). The 'extra' bar is resolved into an even number by the meaningful addition of the very last bar of the piece (bar 74).

No. 2 Op. 119-2 in C major

Andante con moto (At a walking pace, with movement)

Ternary form: A + B + A' + Coda. Within this short piece, the modulations are captivating, like the natural shifting of light colors through a prism. After the first 4-bar phrase of section A concludes, the subsequent phrase immediately darkens to A minor, and section B (from the anacrusis of bar 9) is in G major. In the recapitulation of section A, the latter phrase is expanded, and the coda (from bar 32) enters by overlapping by one beat, creating an interesting phrase-crossing structure.

The melody of this piece is strikingly similar to the second movement (in E-flat major) of Piano Trio No. 3, Op. 1-3, and the writing in the last 8 bars is also very alike. Imagine the eighth notes as the piano, and the fine triplet figures as string instruments (violin in the high register, cello in the low register), and play as if engaging in an intimate conversation.

Piano Trio No. 3, Op. 1-3, beginning of the second movement (in E-flat major)

Piano Trio No. 3, Op. 1-3, last 8 bars of the second movement (in E-flat major)

No. 3 Op. 119-3 in D major

à l'Allemande (In the style of an Allemande)

Allemande means 'German style' in French. It is a quadruple-meter dance, typically played at a moderate tempo, with a polyphonic texture and beginning with an anacrusis, which originated in French courts around the 16th century.

This No. 3 is in 3/8 time, but if one bar is considered one beat, then four bars form a unit, thus adhering to the allemande's characteristic of being in a quadruple-meter system. Furthermore, allemandes also feature the subdivision of one beat into three, and the interpretation of one bar as one beat perfectly aligns with the nature of the allemande. The structure is ternary form: A + B + A + Coda. Section A begins with an elegant anacrusis in the right hand, with the left hand entering contrapuntally. However, the contrapuntal section is not developed, and the piece ends merely by repeating the anacrusis part. It's as if a young child is trying to start a conversation, saying 'You know, you know...' but struggling to get to the point. Section B, on the other hand, has the atmosphere of a courante (a fast dance with triple subdivision of the beat, often paired with the allemande around the 16th century), speaking fluently.

No. 4 Op. 119-4 in A major

Andante cantabile (At a walking pace, in a singing style)

Written in three-part counterpoint, it evokes a string trio of violin, viola, and cello. Beethoven composed five string trios (or six, if including those for two violins and cello) between 1794 and 1798, a period relatively close to the composition date of this No. 4 (1800–1804). It would not be far-fetched to imagine that the three-part texture was written with the sound of a string trio in mind.

The structure is a simple binary form. As the upper voice sings a simple folk-like melody, the middle voice harmonizes in sixths, followed by the lower voice playing a counter-melody. In the latter half, the upper voice plays innocently over the harmony supported by the middle and lower voices. A small, warm happiness is gently captured, like the feeling of one's heart being cleansed by a sudden glance at the sky in daily life.

No. 5 Op. 119-5 in C minor

Risoluto (Resolutely)

Binary form + Coda. Over the left hand's repeated chords, like pounding blocks, the right hand's arpeggiated chords, accompanied by fierce short appoggiaturas, are played sharply with a dotted rhythm. The sixteenth notes in the left hand's interjections at phrase transitions also possess a fierce intensity, like slashing a blade. The coda repeats the material from the end of the phrase (bar 8) three times, as if emphatically stating something, punctuated by tension-filled rests. Then, like a dam breaking, it rushes through a musical idea containing large interval leaps, increasing in severity with sf.

Many of Beethoven's works in C minor express such intense emotions, and this No. 5 is one of them. Early C minor works written around this time include Piano Sonata No. 5 in C minor, Op. 10-1 (1798), and Piano Sonata No. 8 in C minor, 'Pathétique,' Op. 13 (1799), all sharing common characteristics.

No. 6 Op. 119-6 in G major

Andante (At a walking pace) – Allegretto (Somewhat fast)

Written around 1820–21, its style shifts dramatically from the early style of Nos. 1–5 to that of his late period. The introduction (Andante section, 3/4 time) is full of fantasy and cadenza-like (resembling the atmosphere of the slow movements in his late sonatas from Piano Sonata No. 28 onwards).

The main section (Allegretto section, 2/4 time), beginning from bar 7, is marked “leggiermente (leichtlich vorgetragen)” [lightly (played lightly)], and seems to flow smoothly like faint thoughts or aimless musings.

The repeated identical rhythms and continuous ties gradually diminish the sense of bar lines and pulse. The sense of structure and assertion recedes, and the style, where introspective thoughts flow continuously as if in a dialogue with oneself, has parallels with the works of later Romantics like Schumann. At bar 40, the time signature changes to 6/8, but it is marked “l’istesso tempo (dieselbe Bewegung)” [at the same tempo (the same movement)], suggesting it should be played like a gradual transition, so as not to make the change in meter noticeable.

No. 7 Op. 119-7 in C major

Allegro, ma non troppo (Fast, but not excessively so)

An improvisatory piece, lasting about one minute. The author speculates that it might have been a musical idea written down for a sonata movement but later rejected. Alternatively, the idea of the trill in this piece might have matured and led to the moving trill at the end of Piano Sonata No. 32.

A melodic fragment with an air-vibrating trill is repeated four times like an echo, and the cadence in bar 5 is also echoed by the bass in bar 6. From bar 7, it is marked “scherzando” [jokingly], and whimsical musical ideas chase each other in a canon-like fashion, playfully frolicking. From bar 15, the fantastical opening trill and echo return, gradually crescendoing from p. As the volume increases, the right hand's note values subdivide and ascend, finally rushing down with ff arpeggiated chords as if awakening from a dream, where the piece ends. It can also be seen as having the character of a prelude. Short yet profound.

No. 8 Op. 119-8 in C major

Moderato cantabile (At a moderate pace, in a singing style)

A miniature piece like an excellent short story, incorporating many diverse elements and complex materials, yet elegantly put together. The first half (bars 1–8) is marked “molto ligato” [very smoothly (Beethoven wrote 'ligato' for 'legato')], ascending chromatically. It would be good to imagine the sound of a string quartet, sustaining the notes as much as possible, and playing without emphasizing the attack of the keystrokes. Bars 9–12 have a chorale-like sound, evoking a sense of spaciousness. From bar 13, the echoing fragmentary melody from the previous piece (No. 7) appears and disappears. In the last four bars from bar 17, the left hand ascends with double thirds, and the right hand takes over, concluding with a smile.

No. 9 Op. 119-9 in A minor

Vivace moderato (Lively moderato)

According to the first edition, the autograph manuscript contained the tempo marking “vivace assai ed un poco sentimentale” [very fast and a little sentimentally]. A short piece, lasting about 40 seconds. The structure is a simple binary form, with the left hand playing a dance-like accompaniment throughout the piece. The right hand repeats a melody that ascends with arpeggiated chords and then descends stepwise. It begins p, and during the ascent, a hairpin marking indicates cresc., building anticipation. However, after the descent, it returns to p, as if losing confidence and giving up on expectations. In bar 7, the third beat (an off-beat) is f, and then immediately p on the first beat of bar 8, suggesting an emotionally unstable state. The latter four bars (9–12) are like a wavering mind floating. The piece also ends dejectedly, with f followed by p at the very end.

No. 10 Op. 119-10 in A major

Allegramente (Merrily and fast)

A short piece lasting only about 15 seconds. It feels less like a fragment and more like a single variation within a set of variations. The left hand continuously interjects on the off-beats to the right hand's leaping, singing double stops. The continuous syncopation almost leads to a 'Gestalt collapse,' but in the final bar (bar 13), both hands align on the downbeat for the first time, allowing an escape from the rhythmic labyrinth.

No. 11 Op. 119-11 in B-flat major

Andante, ma non troppo (At a walking pace, but not excessively so)

Innocentemente e cantabile (Innocently and in a singing style)

A sublime piece, like a chorus of angels. After repeating a pure 4-bar chorale, the second section from bar 5 modulates to F major (the dominant), evoking a gentle, subtle fragrance and a nostalgic feeling. The sixteenth notes in bars 9–10 diminish further from p to pp, as if a prayer is ascending to heaven. From bar 11, the third section begins, and cantabile is re-indicated emphatically as “molto cantabile” (very singing). This passage suggests a string-like sound (the high notes in the right hand would suit the mournful, poignant timbre of a violin, and the eighth-note double stops in the left hand, played by viola and cello, would create a warm and gentle atmosphere). Furthermore, this melody is a transformation of the echoing melodic fragment that appeared in Nos. 7 and 8, with its note values doubled. The four bars of the coda (from bar 19) return to a chorale-like sound, leading to a quiet, benevolent ending.

[1] The score used is from the old complete edition by Breitkopf.