Beethoven Portfolio of Bagatelles

8/7/2019 Beethoven Portfolio of Bagatelles

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Ludwig van Beethoven( 1770 1827 )

P ia n o p ie ce s

a nd

Bagatelle s

Comlete piano work sin 10 volums

Original settings


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P ian o pieces


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Biography of Ludwig van Beethoven ( 1770 1827 )

Ludwig van Beethoven (December 17, 1770 March 26, 1827) was a German composer. He is generallyregarded as one of the greatest composers in the history of music, and was a crucial figure in the transitional

period between the Classical and Romantic eras in Western classical music. His music and his reputationinspired and in many cases intimidated ensuing generations of composers, musicians, and audiences.While primarily known today as a composer, Beethoven was also a celebrated pianist. Born in Bonn, Germany,he moved to Vienna, Austria, in his early twenties and settled there, studying with Joseph Haydn and quicklygaining a reputation as a virtuoso pianist. Despite gradual hearing loss beginning in his twenties, Beethovencontinued to produce notable masterpieces throughout his life, even when he was totally deaf. Beethoven wasalso one of the first composers to work freelance arranging subscription concerts, selling his compositions to

publishers, and gaining financial support from a number of wealthy patrons rather than seek out permanentemployment by the church or by an aristocratic court.

1820

Beethoven was born in Bonn, Germany in 1770, to Johann van Beethoven (17401792), one of a line of musicians of Flemish ancestry, and Maria Magdalena Keverich (17441787), whose father had been overseer of the kitchen at Ehrenbreitstein. Beethoven was one of seven children born to them, of whom only Beethoven andtwo younger brothers would survive infancy. Beethoven was baptized on December 17, 1770. Although his

birthdate is not known for certain, his family (and later, his teacher Johann Georg Albrechtsberger) celebratedhis birthday on December 16. Beethoven's first music teacher was his father, a tenor in the service of theElectoral court at Bonn, who was reportedly a harsh and unpredictable instructor. Johann later engaged a friend,Tobias Pfeiffer, to preside over his training, and it is said Johann and his friend would at times come home latefrom a night of drinking to pull young Ludwig out of bed to practice until morning. Beethoven's talent wasrecognized at a very early age, and by 1778 he was studying the organ, violin and viola in addition to the piano.His most important teacher in Bonn was Christian Gottlob Neefe who was the Court`s Organist. Neefe helpedBeethoven publish his first work: a keyboard variation.


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In 1787, the young Beethoven travelled to Vienna for the first time, where he played for Wolfgang AmadeusMozart who said that Beethoven would soon astonish the world. After his mother was diagnosed withtuberculosis, Beethoven was forced to return home. Beethoven's mother died on July 17, 1787, when Beethovenwas 16. Due to his father's worsening alcohol addiction, Beethoven was responsible for raising his two younger

brothers.Beethoven moved to Vienna in 1792, where he studied for a time with Joseph Haydn, though he had wanted tostudy with Mozart, who had died the previous year. Beethoven received additional instruction from JohannGeorg Albrechtsberger (Vienna's pre-eminent counterpoint instructor) and Antonio Salieri. By 1793, Beethovenestablished a reputation in Vienna as a piano virtuoso. His first works with opus numbers, a set of three pianotrios, appeared in 1795. He settled into the career pattern he would follow for the remainder of his life: rather than working for the church or a noble court (as most composers before him had done), he supported himself through a combination of annual stipends or single gifts from members of the aristocracy; income fromsubscription concerts, concerts, and lessons; and proceeds from sales of his works.Around 1796, Beethoven began to lose his hearing.He suffered a severe form of tinnitus, a "ringing" in his earsthat made it hard for him to perceive and appreciate music; he would also avoid conversation. He left Vienna for a time for the small Austrian town of Heiligenstadt, where he wrote his Heiligenstadt Testament. He resolved tocontinue living for and through his art. Over time, his hearing loss became profound: there is a well-attestedstory that, at the end of the premiere of his Ninth Symphony, he had to be turned around to see the tumultuousapplause of the audience; hearing nothing, he began to weep. Beethoven's hearing loss did not affect his abilityto compose music, but it made concerts lucrative sources of income increasingly difficult. As a result of Beethoven's hearing loss, a unique historical record has been preserved: he kept conversation books discussingmusic and other issues, and giving an insight into his thoughts. Even today, the conversation books form the

basis for investigation into how he felt his music should be performed and his relationship to art.

1804Beethoven's personal life was troubled. His encroaching deafness led him to contemplate suicide (documentedin his Heiligenstadt Testament). He was attracted to "unattainable" women (married or aristocratic), and henever married. His only love affair with an identified woman began in 1805 with Josephine von Brunswick,young widow of the Graf von Deym. It is believed the relationship ended by 1807 due both to his ownindecisiveness and the disapproval of Josephine's aristocratic family.In 1812, Beethoven wrote a long love letter to a woman he identified only as "Immortal Beloved". Severalcandidates have been suggested, but the identity of the woman to whom the letter was written has never been

proven. (The 1994 film Immortal Beloved was based on this.)

Beethoven quarreled, often bitterly, with his relatives and others (including a painful and public custody battle

over his nephew Karl). He frequently treated other people badly. Nonetheless, he had a close and devoted circleof friends all his life, all of whom are thought to have been attracted by his reputed strength of personality.Towards the end of life, Beethoven's friends competed in assisting him cope with illness and his deafness.


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Sources show he indulged in a particular disdain for authority, and for those superior to him in social rank. Hewould cease to perform at the piano if the audience chattered among themselves and did not give him their attention: nor, at soires, would he perform if suddenly called upon to do so without any warning from his hostsin advance. Eventually, after many confrontations, the Archduke Rudolph found himself compelled to giveorders that the usual rules of court etiquette did not apply to Beethoven.Beethoven was attracted to the ideals of the Enlightenment and by the growing Romanticism in Europe. Heinitially dedicated his third symphony, the Eroica (Italian for "heroic"), to Napoleon in the belief that thegeneral would sustain the democratic and republican ideals of the French Revolution. But in 1804 , when

Napoleon's imperial ambitions became clear, Beethoven crossed out Napoleon's name on the title page. Herenamed the symphony "Sinfonia Eroica, composta per festeggiare il sovvenire di un grand Uomo" ("HeroicSymphony, composed to celebrate the memory of a great man"). The fourth movement of his Ninth Symphonyfeatures an elaborate choral setting of Schiller's Ode An die Freude ("Ode to Joy"), an optimistic hymnchampioning the brotherhood of humanity. Since 1972 , an orchestral version of the fourth movement has beenthe official anthem of the European Union.Scholars disagree on Beethoven's religious beliefs and the role they played in his work. For discussion, seeLudwig van Beethoven's religious beliefs. It has been asserted, but not proven, that Beethoven was aFreemason.On 8 December 1813 the 7. Symphony became premiered with overwhelming success. It was praised 30 yearslater of Richard Wagner than "Apotheose of the dance". During the Viennese of congress Beethoven recognizedthat this meeting of the rulers of Europe should lead only to further suppressions. He estimated the human andmental values of humans. In its youth it was inspired by Schiller, in the later life turned it to Goethe, with whomit led also a correspondence and with which he met in July 1812 in Teplitz. Thus it toned also several works of Goethe, for example the play music to Egmont. When 1815 one of its brothers died, he took its son Karl toitself. Soon it turned out that the relationship Beethovens with its nephew stood under no good star. Beethovenset the young man with its high and every now and then covered moral requirements in such a manner under

pressure that Karl undertook a Suizid attempt. This failed, was for the composer however nevertheless a largeload, because the attempt of the Suizid was at that time a punishable delikt. Despite (or perhaps straight becauseof) these immense private difficulties composed Beethoven in this time one of its most important works, theMissa Solemnis (1822), which in its size and beauty anything from the desolate surrounding field suspect lets, inwhich it did not develop.

1823


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Beethoven died 1827 in Vienna at more chronically alcoholically conditioned living ore erring trousers.About twenty thousand humans participated in his funeral. Even the military had to be used for the maintenanceof the order. A obelisk with its name decorated its original grave on the Waehringer cemetery, which wasrenamed in the meantime long and today is called Waehringer thrust blank park. In the second half 19. Centuryit was exhumiert in the presence by Anton Bruckner, in order to find on the Viennese central cemetery its finalGrave.

Beethoven is generally acknowledged as one of the giants of Western classical music; occasionally he isreferred to as one of the "three Bs" (along with Bach and Brahms) who epitomize that tradition. He was also a

pivotal figure in the transition from 18th Century musical classicism to 19th Century romanticism, and hisinfluence on subsequent generations of composers was profound.

Beethoven is widely regarded as one of the greatest masters of musical construction, sometimes sketching thearchitecture of a movement before he had decided upon the subject matter. He was one of the first composers tosystematically and consistently use interlocking thematic devices, or "germ-motives," to achieve inter-movement unity in long compositions. Equally remarkable was his use of "source-motives," which recurred inmany different compositions and lent some unity to his life's work. He made innovations in almost every formof music he touched. For example, he diversified even the well-crystallized form the rondo, making it moreelastic and spacious, which brought it closer to sonata form.

Beethoven composed in a great variety of genres, including symphonies, concerti, piano sonatas, other sonatas(including for violin), string quartets and other chamber music, masses, an opera, lieder, and various other genres. He is viewed as one of the most important transitional figures between the Classical and Romantic erasof musical history.As far as musical form is concerned, Beethoven worked from the principles of sonata form and motivicdevelopment that he had inherited from Haydn and Mozart, but greatly extended them, writing longer and moreambitious movements.

Beethoven's compositional career is usually divided into Early , Middle , and Late periods.

In the Early period , he is seen as emulating his great predecessors Haydn and Mozart, while concurrentlyexploring new directions and gradually expanding the scope and ambition of his work. Some important piecesfrom the Early period are the first and second symphonies, the first six string quartets, the first three pianoconcertos, and the first twenty piano sonatas, including the famous "Pathtique" and "Moonlight" sonatas.

The Middle period began shortly after Beethoven's personal crisis centering around his encroaching deafness.The period is noted for large-scale works expressing heroism and struggle; these include many of the mostfamous works of classical music. Middle-period works include six symphonies (Nos. 38), the fourth and fifth

piano concertos, the triple concerto and violin concerto, five string quartets (Nos. 711), the next seven pianosonatas (including the "Waldstein" and the "Appassionata"), and Beethoven's only opera, Fidelio .

Beethoven's Late period began around 1816. The Late-period works are characterized by intellectual depth;

intense, highly personal expression; and formal innovation (for example, the String Quartet, Op. 131 has sevenlinked movements, and the Ninth Symphony adds choral forces to the orchestra in the last movement). Works of this period also include the "Missa Solemnis", the last five string quartets, and the last five piano sonatas.

Beethoven has still briefly before its death to its 10. Symphony worked, these however never completes. Thereare many sketches and notes of it over the first sentence. Barry Cooper prepared these sketches to a firstsentence. The kind of clay/tone is E flat major and the work several marks was already brought in. Also to athird sentence, one with "Presto" strong Scherzo called, exists to sketches from the year 1825.


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Beethovens works :

Orchestral music : Beethoven may be most famous for his nine symphonies. He also wrote several concertos,mostly for his own performance, as well as other orchestral music, principally overtures and incidental music for theatrical productions, and works to mark various occasions.

Chamber music : Beethoven's string quartets are nearly as famous as his symphonies. He also wrote chamber music for several other types of ensembles, including piano trios, string trios, and sonatas for violin and cellowith piano, as well as works with wind instruments

Solo piano music : In addition to the 32 celebrated sonatas, Beethoven's work for solo piano includes manyone-movement pieces, notably the sets of variations, and the bagatelles.

Vocal music : While he completed only one opera, Beethoven wrote vocal music throughout his life, includingtwo Mass settings, other works for chorus and orchestra (in addition to the Ninth Symphony), arias, duets, artsongs (lieder), and one of the first true song cycles.

Opera : Fidelio op.72 1814

Beethoven monument in Bonn


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Beethovens handwritingfrom the Heiligenstaedter Will

October, 6. 1802


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C omment s


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The Beethoven edition contains 10 volums, arranged as follows:

I. Dances II. Rondos and Sonatinas III. Piano pieces and Bagatelles IV.-VII. Sonatas I-IV VIII.-X. Variations I-III

In volume I volume III are Beethoven's piano works which fall outside the category of the sonata andvariations. In general the works arranged in the ascending numerical order found in the Kinsky-Halmcatalogue which is listed in volume I.

The present volume contains all his authentic and complete individual piano pieces and bagatelles. Thedefinition of genre follows that in the thematic index by Kinsky-Halm.Two pieces are published in the Appendix, namely the 2nd version of the Allegretto in C minor, WoO 53 which has come down to us in two autograph versions which show significant divergences, and another

Allegretto in C minor, Hess 69 (Kinsky-Halm No deest), which is difficult to decipher. For more detailssee the notes to the individual works.The present volume is divided into two parts, in each of which the pieces are found in the numerical

sequence of the Kinsky-Halm index, first those which have no opus number, then those with opus number.Editorial additions are reduced to the minimum and appear in square brackets or are mentioned in the Notes.Obvious slips of the pen and printing errors have been tacitly corrected. No additions by analogy have

been made. This explains why expression marks and peformance indications not available in the sources but included in most modern editions are absent from this edition. No suggestions have been maderegarding the manner of performance, the execution of ornaments as well as pedalling and fingering.(Beethoven's original pedalling and fingering are included unchanged.)Titles and dedications of works are given according to the sources. This edition is based on source I ; if notso, this is mentioned and explained in the Notes.

Abbreviations:

BHA : Beethoven-Haus und Archiv, Bonn.SBB : Staatsbibliothek zu Berlin, Preuischer Kulturbesitz

Marcia, WoO 29

Sources: I : Autograph piano version, together with: I 1: autograph score for 2 c1., 2 cor., 2 fg.

Both found in SBPK, Gr. 25.

The sequence of origin of the two sources can not be determined. I contains many deletions andcorrections, the notation of I 1 is more accurate. But dynamics and articulation are marked only in I .From bar 6, 2nd half to end bar 7 I is hardly legible because of repeated amendments. The musical text of this section is given here by relying on I 1.9 and 11 , upper stave, 2nd half of the bars: 4 even quavers in I 1.12, 13, 14 and 16 , last beats: octave doubling or not of the upbeat ambiguous in both sources. The most

probable version given here.


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Allegretto, WoO 53, autograph 1st version

Source: autograph, SBPK, Gr. 25.

This piece was intended originally for the C minor Piano Sonata op. 10, Nr. 1 as an Intermezzomovement. The source contains the piece in two different forms. The version more accurately notated andrich in performance indications is marked 1st version and appears in the main part of this volume.The other version marked 2nd version is more sketchy, but shows significant differences in itscomposition. It is found in the Appendix. The sequence of origin of the two versions cannot beestablished, i.e. we do not know which if any was regarded by Beethoven as the final version.From bar 94 to bar 96, 2nd beat the bass part is not written out in the source. Here given based on bars 6-8. Similarly from upbeat of bar 104 to 2nd beat of bar 143 the bass part is lacking, but here a textual hintrefers to the identical section of the first part (bars 9-47). In bars 104-143 the notation for the right handslightly differs from that in bars 9-47; this difference is faithfully reproduced here. Dynamic andarticulation marks however are taken from the first section.

Bars 168-169 : the original two final chords are reproduced here because Beethoven did not delete them

when he added the following variant:

Allegretto, WoO 53, autograph 2nd version

Source: Source: see 1st version

The source has no dynamic or articulation marks.The notation is sketchy. Numerous accidentals are missing - most of them being, in the notational practiceof that time, obvious. On the other hand, the version given in the main text of this volume is simpler,

because sections are put between repetition signs which here are written out varied. The 1st version waschosen for the main text on practical considerations, simply because it contains marks for performance.The designation 1st or 2nd does not express chronological order or evaluation.

Bar 42 and 132 , upper voice, 1st note has no accidental. In the notational practice of that time it can also be understood as f sharp .

Bar 105 , upper stave, another possible reading:

Bars 106-145 : only upper part is written out except bars 117-118, where the bass chords differ from theanalogous bars 27-28 and are, of course, notated out fully.

Bars 151-152 bass voice and 154-155 upper voice: ties added.

Klavierstck "Lustig-Traurig", WoO 54 (Piano piece Merrily-Sadly)

Source: autograph, SBPK, Gr. 26

Editorial additions: bars 9-10, middle voice: tie;Minore, bar 38b (2. volta).


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Praeludium, WoO 55

Sources: I : first edition, Bureau d'Arts, Wien 1805 II : edition by Simrock, Bonn, 1808

Bar 20 , upper stave, 3rd note in II : b 1 without the natural. Bar 3 1, upper stave, tie from II .

Andante Favori, WoO 57

Source: first edition, Bureau d'Arts, Wien, 1805

This movement originally occupied the place of the slow (2nd) movement in the "Waldstein Sonata'' op.53. Carl Czerny reported that Beethoven found it too long and therefore removed it from the sonata. He

published it as a separate piece entitled Andante Favori because he liked to perform it often. Editorial additions : ties in bars 90-91, upper stave, upper voice, bar 91 lower stave, upper voice, bar 92,upper stave, lower voice; staccato dots in bars 143 and 148 for the whole bar, bar 146 from 3rd note, bar

147 from 5th note.

Klavierstck (Bagatelle) "Fr Elise" (?), WoO 59 (Piano piece For Elisa)

Sources: I : first published in: Ludwig Nohl, Neue Briefe Beethovens, 1867, pp 28-33. (No. 33) II : autograph sketch in BBH, No. 116

The sources . The fair autograph copy which served Nohl as the basis for his publication is lost. Source II is hard to decipher but contains - with many abbreviations - the whole piece. Repeats of the main part arenot written out, accompaniment is missing in some places (where it corresponds to former sections), restsare missing, etc. In addition, this MS bears revisions in Beethoven's hand in thick blue pencil. The datewhen the autograph copy, the basis of the source I was written down cannot, of course, be established;

II can be dated between 1808 and 1810; the blue pencil revisions found in II cannot be dated either, butthey were clearly added later. This situation permits us to suppose that II was prepared for the final formof the work. But the present edition follows I , which must have been based on a fair autograph copy.Seeing that Nohl's publication has some obvious misreadings, source II has also been taken intoconsideration, and a deciphered form (bars 1-22b and 75-81) is given following this note.Title and dedication . I refers to the piece as " Klavierstckchen '', II has no title but - as a later additionin Beethoven's blue pencil - bears the inscription "No. 12''. As a number of the 11 Bagatelles op. 119 are early compositions, Beethoven may have had it in mind to add this work to that cycle, extending it tothe commonly used twelve pieces.Thus " Fr Elise'' could be a "Bagatelle'' , too. In I , Nohl remarks: "Das ... Klavierstckchen stammtebenfalls aus dem Nachla der Frau Therese von Drodick gab. Malfatti ... Es ist nicht zwar fr Theresegeschrieben, soldern enthlt von Beethovens Hand die Aufschrift: "Fr Elise am 27 April zur Erinnerungvon L. v. Bthvn." - welcher Elise ... nicht erinnert''. ("The little piano piece comes from the legacy of MrsTherese Drodick born Malfatti. It was written for Therese but has the inscription in Beethoven's hand"Fr Elise ... etc." - but for which Elise - there is no record.) The supposition first expressed by MaxUnger that Nohl misread the name Therese as Elise is well justified by the fact that Beethoven was to havemarried Therese Malfatti in 1810.

Remarks . The tempo indication is given following II (blue pencil addition). I has "poco moto'' probablya misreading of "con moto'' As pedalling is carefully indicated in bars 2-21 in both sources, it is given by

analogy with II (where no repeats are written out) in both repeats (bars 39-58 and 83- 102).


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Bar 7 , upper stave, 2nd note in I : e 1 but all analogous places have d 1. In II d 1 .

Bars 36-37 , upper stave in I :here emended following II .

Bar 75, rhythm in I :

The emendations in blue pencil in II consist of the above mentioned inscription "No. 12'' and the tempoindication "molto grazioso"; bass part has further strong semiquaver rests put at the beginning of bars 2-4and 6- 12 (without deleting semiquaver rests in bars 2 and 3 - in later bars they are not written outs; andsome bass notes corrected in bars 4, 8a and 8b. Based on these emendations Beethoven could have had thefollowing in mind as the main part of the piece:

Bars 75-82 in II are shortened into seven bars thus:

Bars 75-82 in II are shortened into seven bars thus:


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Klavierstck fr Marie Szymanowska, WoO 60 (Piano piece For MarieSzymanowska)

Sources: I : autograph, Paris, Muse Chopin (former Muse Miczkiewicz) MAM Rkp 973 II : first published in ''Berliner allgemeine Musik-Zeitung, 8th December, 1824

Bar 32 , lower stave, 2nd note in I : b flat . Here II followed ( a flat ). Bars 35-39 : upper stave spoiled in I thus there II had to be followed.

Klavierstck fr Ferdinand Piringer, WoO 61 (Piano piece For Ferdinand Piringer)

Sources: I : first published by Dr. Theodor Frimmel in: "Deutsche Kunst & Musik-Zeitung", Wien,15th March 1893

II : facsimile of the autograph, bars 1-10b in Dr. Th. Frimmel's Ludwig van Beethoven,1901, page 66. Original autograph in private collection, not available.

Klavierstck Sarah Burney Payne, WoO 61a (Piano piece Sarah Burney Payne)

Sources: a photocopy of autograph in BBM, consulted.

2 Preludes, op. 39

Sources: I : first edition by Hoffmeister, Leipzig, 1803 II : MS copy revised by Beethoven, SBPK, Mus. ms. Beethoven, Art. 128 inscribed byBeethoven: ''1789 Von Ludwig van Beethoven''

No. 1 Bar 66 , upper voice, 3rd note in B has a flat sign; in I no accidental. Bar 89 , middle voice, 2nd beat, last note: no accidental in the sources but 4th beat has natural.Additions from II : bars 6, 7 lower voice, 15 upper voice, 26 lower voice: slurs; bar 102: p ; bar 20 middlevoice, bars 100 and 101 bass voice: ties.

Fantasia, op. 77

Sources: I : autograph, BBH, Mh 8 II : first edition by Breitkopf & Hrtel, Leipzig, 1810 III : edition by Artaria, Wien, 1810

Bar 84 : Adagio from II and III . Bar 126 : in II and III slurs end on the 1st beat. In I uncertain. II and III followed. Bar 126 , 2nd beat f from II and III . In I : ff , but in bar 134 all sources have f .


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Bagatelle, WoO 52

Source: autograph, BBH, Bmh 11/51

The title "Bagatelle'' after Kinsky-Halm; the MS does not bear any title.The piece was intended originally for the Sonata op.10, No. 1 in C minor as an Intermezzo movement -similarly to the Allegretto WoO 53 .

Bar 4, 8 and 69, 73 : the chords of the accompaniment on 1st-2nd beats are problematic.

Bar 4 , lower stave has: bar 8 lower staff has:

both hard to read due to corrections. In the analogous

bars 69 and 73 the correction is: and - the original writing is not deleted.

The present edition follows the correction of bars 69 and 73 also for bars 4 and 8.

Trio , from bar 123 to bar 126, 2nd beat, lower stave: some modern editions ignore the extra part writtenafterwards in the autograph and give rests instead.

Bagatelle, WoO 56

Source: autograph, Bibliothque Nationale, Paris, Coll. Malherbe, Ms 29

The title " Bagatelle '' after Kinsky-Halm; the MS has no title. Bar 39 , bass: the correction in the autograph is unambiguously the note B; Beethoven deleted and rewrotethe whole bass part in bars 36b - 39; maybe he was mistaken in bar 39 in writing one leger line less, thusthe note can (or should) be read as G, too.

7 Bagatelles, op. 33

Sources: I : autograph, BBH, Mh 5 II : first edition by Bureau d'Arts, Wien, 1803 III : edition by Andr, Offenbach, 1826

The set is issued here on the basis of I but the logical and necessary emendations found in II and III have been incorporated.

No. 1Bars 9, 10, 59, 60 and lower stave of 61: staccato from II .

No. 2 Bars 1-11, 63-73, 78-89 and 95-97 : difference between f and sf as found in I . In II and III : all sf . Bars 31a/32a : upper stave: ties editorial.32b : the repetition of bars 1-16 is written out in most modern editions. Here Beethoven's originalabbreviation retained.65-66 and 69-70 : in I the upper stave has only the melody while in the lower stave a "come sovra''instruction can be found. This refers in all probability to the middle voice in the upper stave (the g 1 - s

and a1

- s), too. II has the middle voice only in bars 69-70, III as given here. Bar 75 : II has an (erroneous ?) sf on the 2nd beat.


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Bar 100 , lower staff: the chord in all sources consists of the three notes g - b - f 1, but III in bar 92 - avery similar place has g - b - d 1 - f 1.

No. 3 Bars 8, 39, 45 and 1st half of 46, upper stave: articulation from II .

No. 4 Bar 52 , upper stave, 1st beat: slur editorial.

No. 5 Bars 3, 7, 18, 22 and 56 , lower stave, lower voice have no ties in I . This edition makes them conform to bars 41 and 45 in I ; II and III have no ties at all in these places, however, notation in II , bars 3, 7 and 18:

the same bars in III :

No. 6Tempo indication in I : only Allegretto .

Bars 64 and 65 : slurs from II .

No. 7 Bars 37-39 : wedges from II . (In III : dots). Bars 147-154 : slurs from II and III . Bar 156 , upper stave, 3rd beat: the chord has one more b flat note in III .


The set was composed in two parts. Beethoven wrote down pieces nos 7-11 on 1st January 1821 for the"Wiener Pianoforte-Schule'' compiled by Ferdinand Starke. The dating of the autograph of the bagatellesnos 1-6 is November 1822, but at that time, in all probability, he finalized former drafts.Bagatelles nos 7-11 were first published in the above mentioned tutor by Starke in 1821. The entire setwas published in 1823 in Paris and London, and some months later, in April 1824 in Vienna. In 1826 or 1828 the Viennese firm of Diabelli took over the plates of the 1824 Vienna edition and reprinted the serieswith a supplementary 12th piece. This latter is a rewriting of the piano part of Beethoven's early song " An

Laura ". Beethoven's participation is unlikely, thus this piece has been omitted.Consequently, the sources are as follows:

I 1 : autograph of nos 1-6, SBPK, Art. 199. I 2 : autograph of nos 7-11 , one part in BBH, BH 106 (for No. 7 a photocopy was available), therest in the Bibliothque Nationale, Paris, Coll. Malherbe, Ms 52.

I 3 : autograph sketches for nos 2 and 4, Bibliothque Nationale, Paris, Ms 70 II : first (?) edition by Schlesinger, Paris, 1823 III : first (?) edition by Clementi, London, 1823 IV : edition by Sauer & Leidersdorf, Wien, 1824V : edition by Diabelli, Wien 1826?-1828?

VI : F. Starke: Wiener Pianoforte-Schule, Diabelli, Wien, 1821


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The printed sources differ from each other as well as from the autograph. Dr Alan Tyson arguesconvincingly the reliability of the London print. But one cannot be sure which of those emendations andadditions found in this edition were intended or accepted by Beethoven and which are theinterventions of the publisher. The same can be stated of the other prints. Only the 1824 Sauer &Leidesdorf edition can be presumed to have been seen by the composer - but evidently this was copiedfrom the 1823 Schlesinger print and most differences are not emendations but mistakes ...Due to this situation, the present editor decided to publish the music following the only authentic source,the autograph. Only those differences are mentioned which appear in the printed sources and can be taken

as better readings or really alternatives. No dynamic marks and articulation from the editions have beentaken over. This means the performer finds less performance indications than usual - I 1 especially is poor in dynamic and articulation marks.

No. 1 Bar 20 : thus in I 1 and III , I , II and V avoid consecutive Octaves thus:

Bar 65 , upper voice: thus in I 1 . All editions have:

No. 2 Bar 18 , lower stave, 3rd quaver in II , IV and V : d 1 f 1.Last bar: thus in all editions. Autograph has c 1.

No. 3 Bars 14/15 , bass: tie from II , IV and V . Bar 32 : the repetition is written out in II , IV and V .

No. 4Time signature C from the printed editions.Bar 16, lower stave, upper voice: rhythm from I 3 .

I 1 has here:

No. 5 Bar 6 , lower stave, 1st and 2nd chords: thus in I 1 . In II in IV and V :

II : Bar 20 , lower stave, 3rd chord has an additional f 1 in II , IV and V .

No. 6 Bar 19 and 20 upper stave, last and first quavers in II , IV and V :

Editorial additions : bars 12 and 13, upper stave, 2nd-3rd quavers: ties and slur; bars 24 and 25, upper stave, middle voice: slurs on c 2 - b 1 and b 1 - a 1 ; bars 58/59, upper stave, upper voice: tie.

No. 7 Bars 17-20 , upper stave in I 2 :

or

VI followed.Additions from VI : bars 1-3 and 15: slurs, bars 6, 7 2nd beat, 10 lower stave and bar 9 upper stave dots;bar 13 , lower stave: all articulation marks.


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No. 8 Bars 17-19 are reproduced following the printed sources. I 2 hardly legible because of many alterations.

No. 9Tempo indication in all printed sources: Vivace moderato - a strange contradiction.

No. 10 Bars 8b - 12 are reproduced here following VI . I 2 has a hardly legible correction, notating the upper partan octave lower and the bass an octave higher.

No. 11 Bar 12 , upper part has a slur over the whole bar in II .


Sources: I : autograph, BBH, Mh 23 A1: sketches for Nos. 1, 2 and 6, Bibliothque Nationale,Paris, Coll. Malherbe, Ms 69, 74, 81

II : first edition published by Schott, Mainz, 1825 III : reprint by Schott, Paris, 1827

The present edition is based on A, but the logical and necessary emendations found in II and III have been incorporated.

No. 2 Bar 26a : rhythm in all sources: .( I 1 has no repeat sign.)

Bar 44 : in II and III : ff , in I ambiguous.

No. 3Andante cantabile e grazioso from II and III . In I tempo altered, hardly legible, only an undeletedexpressive can be seen.

Bar 8 , bass: crotchet value of first note follows III , I and II have a quaver.

No. 4The legato slurs are fairly accurate in I . In II and III the few missing ones have been carefully added. Allhave been adopted here.

No. 6The reading of the bass figure in bars 33-34 is problematic. I has a probable error in bars 34-36:

etc.

the A flat note being three times repeated. This appears in II unchanged. In III bars 34-36 are correctedthus:

etc.


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i.e. the repetition of A flat in bar 34 is avoided but left between bars 35/36. In I 1 Beethoven alsocorrected clearly with deletion and addition the latter place thus:

In this way all repetitions are avoided until bar 44, where the MS is hard to read, probably:

Although the single necessary repetition occurs here at the best place, I 1 has not been followed here because in bars 43-44 it has a slightly different upper part. Our edition follows III .

Appendix

Allegretto, Hess 69

Source: autograph, Bibliothque Nationale, Paris, Ms 82

The autograph in its present state consists of two connected leaves, whose four pages are all written infull. The 1st, 2nd and 3rd pages contain the beginning and end of the piece in a well legible, pretty cleannotation. Between pages 2 and 3 another leaf or sheet must have existed, containing the passage from bar 74. This leaf got lost, or, more probably, was removed by Beethoven himself, through dissatisfaction withwhat he had written down. He recomposed the section between bars 74-102, writing this on the present3rd and 4th pages. This recomposition is in some places very hard to decipher, occasionally three or four rewritings can be differentiated. (No wonder that earlier musicological literature regarded this MS as asketch only.) In editing this critical part of the piece, the most probable reading (supposedly the last) has

been chosen, but it was unavoidable that the musical form and the logic of voice-leading should also betaken into consideration. Here it has to be declared that the deciphered result given here reflects, between

bars 74- 102, the editor's musical taste and opinion, and is not entirely free of subjective elements.

Notes refer only to places where the source offers alternative readings of musical importance.

Bar 62 , upper stave last note in the source b flat 1 .

Bar 69 lower stave, 1st beat has below an alteration:

Bars 92-95 bass, another possible reading:

Bar 100 , upper stave, another possible reading:


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Edited by Alexej Wilk

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Beethoven Portfolio of Bagatelles