Ludwig van Beethoven 36 Bagatellen (Kleinere Klavierstücke) – Carl Geissler
Article concerning the publication of 36 bagatelles (short pieces for piano four hands) derived from an equal number of Beethovenian themes. These pieces, transcribed by Carl Geissler—a renowned transcriber active from the mid-19th century—are edited by myself and Graziano Denini, who also serves as their reviser. Where requested, we will provide a brief description of each individual work. Varied in origin and quality, these pieces are nonetheless extremely interesting.
The musical examples and videos on this page are by Antonietta Cappelli.
This collection of “Kleinere Clavierstücke” is peculiar—not so much for Geissler’s quality as an arranger, which is absolutely beyond question—but rather for the selection itself, which in our time might appear somewhat bizarre. Alongside the transcription of masterpieces such as the Diabelli Variations, in Bagatelle No. 2 we find a long sequence of waltzes that today are considered apocryphal, yet were once deemed perfectly original: nearly the entire collection of apocryphal waltzes Anhang 14 is present in the aforementioned compilation, which enjoyed great popularity in mid-19th-century salons.
It is extraordinary, however, to reflect on the fact that in 19th-century aesthetics, there was little distinction between such trifles and pieces that today are considered fundamental.
Moreover, the transcriber does not hesitate to add his own touch—“waltzifying,” so to speak (forgive the odd neologism coined on the spot)—pieces that otherwise would not possess this particular form.
Nonetheless, these 36 small piano pieces represent an authentic cross-section of bourgeois musical culture adapted for piano four hands, and they contributed significantly to the dissemination of Beethoven’s music, albeit in a strictly salon setting.
Below, we will provide a succinct description of the inspiration and origin of each individual piece; and if anyone has clarifications or observations to offer, we would be most grateful.
Over time, we will replace the pieces rendered in Finale 27 with authentic performances, which in this case are curated by Professor Antonietta Cappelli, Alice Fesio, and Eva Maria Soceanu. To all of them, we extend our heartfelt thanks.
