Ludwig van Beethoven (baptised 17 December 1770 – 26 March 1827) was a German composer and pianist. Beethoven remains one of the most admired composers in the history of Western music; his works rank amongst the most performed of the classical music repertoire, and span the transition from the classical period to the romantic era in classical music. His career has conventionally been divided into early, middle, and late periods. The "early" period, during which he forged his craft, is typically considered to have lasted until 1802. From 1802 to around 1812, his "middle" period showed an individual development from the "classical" styles of Joseph Haydn and Wolfgang Amadeus Mozart, and is sometimes characterized as "heroic". During this time, he began to suffer increasingly from deafness. In his "late" period from 1812 to his death in 1827, he extended his innovations in musical form and expression.

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11 Bagatelles Op. 119 (1822)

Bagatelle No. 1 in G minor. Allegretto
Bagatelle No. 2 in C major. Andante con moto
Bagatelle No. 3 in D major. À l'Allemande
Bagatelle No. 4 in A major. Andante cantabile
Bagatelle No. 5 in C minor. Risoluto
Bagatelle No. 6 in G major. Andante
Bagatelle No. 7 in C major. Allegro, ma non troppo
Bagatelle No. 8 in C major. Moderato cantabile
Bagatelle No. 9 in A minor. Vivace moderato
Bagatelle No. 10 in C major. Allegramente
Bagatelle No. 11 in B flat major. Andante, ma non troppo

Linda Nicholson, hammerklavier

Description by Robert Cummings [-]
The date of composition of the Bagatelles, Op. 119 given in the headnote (1822) refers to the date of their completion. It is generally believed that a few of them date back to the 1790s, perhaps to as early as 1793. Some of these Bagatelles in their original sketch form may have been intended as movements for a piano sonata, while others may have had roots in other projected keyboard compositions before Beethoven shelved them. Most of the pieces are worthwhile, even if as a group they seem an odd assemblage.

The first Bagatelle, marked Allegretto, is a charming minuet, possibly originally dating back to the beginning of the nineteenth century. No. 8 is also a minuet, but of a less lively, more subtle character. It is among the more compelling items in the set. The second Bagatelle (Andante con moto) features an attractive, lyrical melody that might have started out as a song. The same might also be said about No. 4, also an Andante (cantabile). The Sixth is a lighthearted Scherzo (after an opening Andante) that might have fit well in one of the earlier sonatas. No. 7, marked Allegro ma non troppo, features a colorful display of the use of trills, and the Ninth (Vivace moderato) is a somewhat unsettled, if not unsettling, waltz. The Eleventh, marked Andante ma non troppo, sounds like a late work. Its straightforward thematic and harmonic wares reveal subtlety and simple charm, as well as a maturity and mastery of form. This piece provides a most effective close to this varied collection.

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