The word 'Bagatelle' comes from French, meaning 'a trifle' or 'something insignificant.' There are three collections of works titled 'Bagatelles': Op. 33, Op. 119, and Op. 126. Among these, only Op. 126 was inscribed by Beethoven himself at the beginning of the score with 'Kleinigkeiten' (plural, 'trifles' or 'small pieces'). It is clear that this set was conceived as a cycle, given that the pieces were composed consecutively over a short period, the ingenious arrangement of keys, and the thematic connections among all six pieces. These Bagatelles were written between 1823 and 1824, after the composition of Symphony No. 9, and became Beethoven's last piano works. He wrote to Schott, the publisher of the first edition, that they were 'very elaborate, and the best I have written in this genre.' From No. 2 onwards, the key scheme descends by major thirds, creating a balanced overall structure. Though brief, they can truly be called his final masterpieces.[1]

No. 1 Op. 126-1 G major

Andante con moto: At a walking pace, with movement

Cantabile e compiacevole: In a singing style, and pleasantly agreeable

The opening 8 measures, in a chorale-like style, are freely varied. From measure 9, it resembles a solo vocal line with string accompaniment. From measure 17, it evokes a string trio, and from measure 21 (l’istesso tempo, 'at the same tempo, without changing the length of the beat'), it dissolves into an instrumental texture, leading to an elegant cadenza from measure 30 (molto ten. non troppo presto, 'very tenuto [holding the notes fully] and not too fast'). The theme, returning with playful notes, is further transformed with rich coloration, and the bass, imbued with life, descends over a wide range of two and a half octaves. The piece concludes with the hands crossing, as if gently embracing something precious.

No. 2 Op. 126-2 G minor

Allegro: Fast

Passages filled with impatience and tension, and earnest prayer-like melodies, alternate without pause. This musical character and structure resemble No. 10, 'The Owl Has Not Flown Away,' from On an Overgrown Path by the later composer Janáček (1854–1928), who was born in Moravia (part of present-day Czech Republic). In the Moravian region, there is a legend that 'an owl stays in the dwelling of a dying person, and if it cannot be driven away, the person cannot be saved.' The arpeggios are the hand movements to drive away the owl. Beethoven's secretary Schindler was from Moravia, so Beethoven might have known this legend. In any case, the opening arpeggiated motif, which seems to drive away the death-bringing owl, is significant. The middle section is cantabile ('singing'), recalling beautiful memories from happier times, but the opening motif interrupts, and as cracks appear, the music is pulled back to reality.

No. 3 Op. 126-3 E-flat major

Andante: At a walking pace

Cantabile e grazioso: In a singing style, and gracefully

Following the G keys of Nos. 1 and 2, E-flat major, a major third lower, is set. It begins with a musical idea reminiscent of the slow movements of his middle-period piano sonatas. After a sustained B octave, a cadenza like a fluttering veil appears, and from then on, it is written in the floating idiom of his late period. Its transparent brilliance resembles celestial music, of unparalleled beauty. The end leaves a fleeting, lingering scent.

No. 4 Op. 126-4 B minor

Presto: Extremely fast

From No. 3, the key further descends by a major third to B minor (considering E-flat major of No. 3 as enharmonically D-sharp major). B minor is an ominous key, and here too, the musical character is devilishly percussive, with the repeated dominant Fis of the opening anacrusis, measure 21, measure 25 being particularly eerie. The joyful B major middle section (from measure 52) shares the same right-hand figuration as the extremely impressive, plaintively singing musical idea from measures 36ff of the second movement of his early Piano Sonata No. 7 (the left hand has a 'Pastoral'-like figuration). Could Beethoven be recalling and elevating an old piece, granting it redemption?

No. 5 Op. 126-5 G major

Quasi allegretto: Like an allegretto (somewhat fast)

A dance-like idyll, where a cool breeze blows. It sways in a gentle flow, oscillating between bright and dark keys like a kaleidoscope. The expressive melody in the right hand and the gently accompanying chords in the left hand are harmonious and charming. The middle section (from measure 17) shifts to a tender C major, and with a cresc., the hands diverge in register. The piece concludes with both hands in the high register, mysteriously whispering the opening idyll.

No. 6 Op. 126-6 E-flat major

Presto: Extremely fast – Andante amabile e con moto: At a walking pace, amiably, and with movement – Tempo Ⅰ: At the initial tempo

The opening Presto passes like a whirlwind in 6 measures (4+2), and the subsequent main section is based on a 3-measure unit. Following a 6-measure preceding phrase (measures 7–12) where the right hand hesitantly speaks over the left hand's open fifths, and a 6-measure subsequent phrase like a rich string quartet, a short 3-measure codetta is added, where right-hand triplets flutter over a leisurely dance-like left hand. From measure 22, after the codetta's triplet motif is developed, the open fifths become triplets, creating a mysterious atmosphere as the preceding phrase reappears. The subsequent phrase undergoes such a transformation that it barely retains its original form, with parallel thirds ascending over a wide range. Only the codetta reappears with the same figuration, further developing and fluttering down from the heavens, sinking into the preceding phrase which descends as if reflected in a mirror. Just when it seems to have landed, the opening gust of wind sweeps through, making one realize that it was all an ephemeral dream.

[1] The musical examples in this commentary use the old complete edition by Breitkopf.