Opus 126, Six Bagattelle for Piano
I) Andante con moto – II) Allegro – III) Andante cantabile grazioso – IV) Presto – V) Quasi allegretto – VI) Presto
Opus 126: Six Bagatelles for Piano, Op. 126 (Late 1823 – February 1824). Published by Schott, Mainz, Easter 1825. GA. No. 190 (Series 18/8) – B. 126 – KH. 126 – L. IV, p. 208 – N. 126 – T. 224
The original manuscript is part of the Bodmer collection at the Beethovenhaus. Another manuscript (of the second Bagatelle) is “probably an initial attempt at a complete version” and is housed in the library of the Paris Conservatory. A chapter of Nottebohm is dedicated to the sketches, including those unused ones listed in No. 783. On the top margin of the second page of the sketches for the first Bagatelle, there is the annotation “Ciclus von Kleinigkeiten”, which suggests how Beethoven conceived these pieces. Written within the same period, they form an organic sequence, unlike the previous two sets (Op. 33 and Op. 119), in which compositions from different periods were grouped together.
Despite being a brief interlude during the more demanding work on the Ninth Symphony, this set of Bagatelles is no less characteristic of Beethoven’s creative output in his later years. The conciseness and sobriety of the melodic gestures, the sudden shifts in mood, and the attention to detail reveal what Rolland aptly called “the extreme mobility of this spirit, capable of enjoying the purest peace and its delights, but whose door is always open to the winds of inquietude.”
First Bagatelle. A calm melodic movement, from which, however, emerges a certain nervous agitation. This arises through rhythmic modulation as the meter shifts to 2/4, followed by a passage of triplets and groups of four notes—sudden, yet brief. This is quickly followed by a more developed and ornamented return of the opening material.
Second Bagatelle. The opening is agitated, contrasted by brief melodic passages. These two elements are then cleverly and playfully interwoven, gradually fading in a delicate conclusion.
Third Bagatelle. A sweet but somewhat somber motif unfolds, progressively evolving into lighter, more ornamented forms, eventually descending in a graceful pianissimo.
Fourth Bagatelle. Presto. The largest and most expansive of the set, divided into two distinct parts: the first is heavy-handed, akin to the beginning of a dance with some quirky rhythmic deviations; the second is built upon one of Beethoven’s characteristic sudden shifts in tonal colour, reminiscent of the contrast found in the second movement of the String Quartet in A minor, Op. 132. This section features a basic motif of three tied notes, rising and falling repeatedly within the unchanged confines of the key of B major.
Fifth Bagatelle. In contrast to the previous one, this piece has a more homogeneous character, almost pastoral in nature. The second part begins with a kind of melody reminiscent of a shepherd’s pipe, casting it firmly in a rustic, idyllic mould.
Sixth Bagatelle. An Andante con moto in 3/8, framed by six tempestuous Presto bars of introduction and conclusion. This piece is highly flexible, almost like a gentle dance motif, its fluidity evoking a sense of ease and graceful motion.
[By Biamonti Giovanni – Catalogo cronologico e tematico delle opere di Beethoven comprese quelle inedite e gli abbozzi non utilizzati, Torino, ILTE 1968]
Official title: Opus 126 Sechs Bagatellen (G-dur, g-moll, Es-dur, h-moll, G-dur, Es-dur) für Klavier Widmung: — NGA VII/6 AGA 190 = Serie 18/8
Opus 126 probably owes its origin to the Viennese reissue of the Bagatelles Op. 119 by Sauer & Leidesdorf and to Johann van Beethoven’s claims on a group of works—including Op. 119, Nos. 1-6, which his brother had granted him ownership of (to settle a mortgage). In 1822/23, both tried unsuccessfully to sell the Bagatelles Op. 119, Nos. 1-6 in German-speaking countries; however, following the original edition of the Bagatelles Op. 119, Nos. 1-11, which appeared in London in early June 1823, Schlesinger’s first reprints in Paris quickly followed, and in April 1824, the edition by Sauer & Leidesdorf appeared in Vienna. With this, Beethoven had to abandon his hope of selling these pieces in the German-speaking world and began to write six new bagatelles to be entrusted to his brother, which became those of the later Opus 126, probably completed by June 19, 1824 (BGA 1846). The “6 Bagatellen ebenfalls ganz neu geschrieben, welche wohl zu den Besten von meinen schon herausgegebenen gehören werden” (BGA 1853) were immediately defined as a “Ciclus von Kleinigkeiten”. Beethoven first conceived pieces Nos. 2-6, and later No. 1. For a long time, it was uncertain whether Bagatelles Nos. 2 and 3 were to be numbered 1 and 2. Subsequently, he placed the current No. 2 ahead of a revised version of No. 1. As early as February 25, 1824, Beethoven had offered the publisher Heinrich Albert Probst in Leipzig “6 Bagatellen für Klawier allein welche aber länger als früher von mir her [aus] gekommen sind” (BGA 1783), words that may have initially referred to Op. 119, Nos. 1-6, but which, after the Viennese reprint in April 1824, pertained to Op. 126. The negotiations continued until December 1824 but were never concluded. In May 1824, Johann van Beethoven also began talks with Sauer & Leidesdorf (BGA 1844), but no agreement was reached in this case either.
In November of that year, Beethoven approached Schott in Mainz and offered a complete group of works, including Op. 126. As Schott offered the highest compensation, the brothers decided to sell the works to Mainz. By the end of 1824/25, Beethoven wanted to correct the manuscript once more (BGA 1916), and on February 4, 1825, Johann van Beethoven finally sent the model for engraving to Schott (BGA 1931). In the accompanying letter, he suggested that the drafts be sent to Gottfried Weber for correction (though Weber refused). On March 19, the composer at Schott communicated the opus number (BGA 1950) under which the Bagatelles were published around Easter. Johann van Beethoven’s attempt to sell the Bagatelles Op. 126 in London was unsuccessful (BGA 1937, 2018). The original edition was first announced in April 1825 (Caecilia 2, Intelligenzblatt 7): “Neue Musikalien, welche […] von der Ostermesse 1824 bis Ostermesse 1825 erschienen sind,” with the following recommendation: „Unter der so bescheidenen Aufschrift ,Bagatelles‘ beut hier Beethoven den Musikfreunden ein höchst geniales Werkchen, stets neu und originell, wie in allen seinen Werken. Minder Geübtere des Klavierspiels werden ihm noch besonders Dank wissen, daß er es auch ihnen möglich macht, sich seiner erhabenen Ideen zu erfreuen.“
The first performance is unknown.
The sketches will be featured in an article specially created for the Beethoven Music Research Center, www.lvbeethoven.org
