General Overview

In 1803, Beethoven compiled short pieces written in simple forms and published them as "Bagatelles." The word "Bagatelle" comes from French, meaning "a trifle" or "something insignificant." There are three collections titled Bagatelles: Op. 33, Op. 119, and Op. 126. Only the last, Op. 126, was clearly conceived as a cycle from its inception, and some view Op. 119 as a kind of cycle as well. However, these Seven Bagatelles, Op. 33, are not a cycle but rather a compilation of pieces, some of which were revised from earlier works. This, paradoxically, can be seen as part of their charm. While various perspectives intersect, the overall conception and arrangement possess coherence, making the collection thoroughly engaging when played through. Due to the simple and short forms of the pieces, ideas born from sudden inspiration are experimentally incorporated, resulting in a collection of short pieces brimming with novel concepts.[1]

 Commentary on Each Piece

No. 1, Op. 33-1, E-flat Major

Andante grazioso, quasi allegretto (Gracefully at a walking pace, like an allegretto (somewhat fast))

This piece is in compound ternary form. In the main section (mm. 1-32), a simple, rondo-like melody is repeated, each time with light ornamentation and variations. The middle section (anacrusis to m. 33 – m. 50) shifts to the parallel minor, E-flat minor, but it is not a profound or heavy minor; rather, it is a light and elegant shade. The unison passages, inserted twice, create a floating, mysterious sensation. Driven by the cresc. from m. 43 and the sf on the weak beats, the music reaches the highest note of the piece, F, in m. 44 (as the range of instruments at the time was approximately five octaves, the highest note of the instrument was either F or G. It would have been necessary to play these notes with a special awareness of them being at the edge of the keyboard). The tension is released with the tie to m. 45, and the right-hand scale leads back to the tonic, returning to the main section at m. 51. The coda (anacrusis to m. 83 –) is short, with simple scales and arpeggios engaging in a dialogue-like interplay between the left and right hands, concluding clearly.

No. 2, Op. 33-2, C Major

Scherzo allegro (Scherzo (humorously, playfully), fast)

The phrase structure of the scherzo section is orderly, based on even numbers, but the characteristic accents on weak beats give the listener a comical impression, as if it were uneven. The 16 measures of the scherzo are structured with phrases progressively halving in length (4 + 4 + 2 + 2 + 1 + 1 + 1 + 1). This seems to comically depict someone stumbling drunkenly and tumbling down a hill. The Minore (minor section) shifts to the relative minor, A minor, where a long-breathed melody is sung. In the middle section, the Trio, the roles of the left and right hands alternate every two measures. The sf on the second beat makes the metrical sense tenuous, as if posing a riddle. In the recapitulation of the scherzo, the repeated sections feature variations through subdivision, and the subsequent coda progressively shortens towards the end, concluding with an echo of laughter.

No. 3, Op. 33-3, F Major

Allegretto (Somewhat fast)

A simple short piece with the character of a sketch. It has the air of a melody quickly jotted down as it came to mind. Although written in compound ternary form (A, B, A + coda), the coda's material is derived from B, and both A and B share a similar lovely character, so the sense of structure is not overt, giving an impression of improvisation where the song flows continuously. The gentle triplet rhythm in 6/8 time continues throughout, and the melody, adorned with subtle ornamentation each time it is repeated, remains consistently fresh and delicate. One can imagine a scene where Beethoven hums a tune while strolling along a favorite forest path... it is a heartwarming piece.

No. 4, Op. 33-4, A Major

Andante (At a walking pace)

This piece is in compound ternary form. The main section is written in four voices, evoking a string quartet. The musical character is like a dreamily swaying lullaby. The middle section sinks into the parallel minor, A minor, suggesting an accompaniment without a melody, creating a sense of loneliness. The faint, happy color of the main section and the dim atmosphere of the middle section form a fantastic contrast. In the recapitulation of the main section, natural variations occur as if gently unraveling, and the melody freely transforms, appearing also in the lower voices. Finally, a simple six-measure coda is appended.

No. 5, Op. 33-5, C Major

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

This piece is in compound ternary form. Beginning with wide-ranging arpeggios, it continues with improvisatory, intricate motion. The main section possesses a character close to a toccata, with the momentum of triplets, trills, and large leaps being its charm. The middle section, in the parallel minor, C minor, features a strongly pleading melody sung by a unison in the low register, while the left hand interjects with triplet arpeggios in an even lower, lowest register. The lyrical passion and the eerie stirrings from the depths are in contrast to the main section. After reaching ff at the half cadence, a triplet scale cascades down, returning to the innocent main section. In the coda, the melody is further stripped away, focusing on motion, and it concludes in a lighthearted, scherzo-like manner.

No. 6, Op. 33-6, D Major

Allegretto quasi Andante (Allegretto (somewhat fast), close to Andante (at a walking pace))

Con una certa espressione parlante (With a certain speaking expression)

This piece is in compound ternary form. The middle section (from m. 21) develops material from the main section, giving the piece a sense of overall unity and a very tasteful coherence. A nostalgic atmosphere pervades, bringing to mind a scene of a mother reading a story to a young child by their bedside. The end of the coda feels like an innocent child falling asleep, filling one with a sense of happiness. As indicated by "Con una certa espressione parlante" at the beginning, it is written not with a song-like melody, but with an expression closer to recitative (the Piano Sonata No. 17 in D minor, "Tempest", Op. 31-2, published in the same year, contains an actual recitative). Beethoven was capable of speaking through sound alone, without words; indeed, he spoke more eloquently through sound than through words.

No. 7, Op. 33-7, A-flat Major

Presto (Very fast)

The structure is A + B + A' + B + A'' + Coda. Section A, with the vigor and brilliance of fireworks, and Section B, with elusive, floating arpeggios, appear alternately, and the coda is derived from the material of Section A. In Section A, repeated double notes continue at pp, building up rapidly with a cresc. from m. 13. These repeated double notes recall the opening of the Piano Sonata No. 21 in C major, "Waldstein", Op. 53, which was composed between 1803 (the same year Bagatelles Op. 33 was published) and 1804. The way Section A is subdivided each time it is repeated also resembles the variation method of the first movement in the same sonata. The fantastical writing in Section B, where the bass is sustained with a long pedal, is reminiscent of the final movement of the same sonata. It is a vibrant piece, fitting to conclude the collection.

[1] The score is quoted from Breitkopf's old complete edition.