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Home > Beethoven, Ludwig van > Bagatelle 'Für Elise' a-moll

Beethoven, Ludwig van : Bagatelle 'Für Elise' a-moll WoO 59

Work Overview

Music ID : 446
Composition Year:1810 
Publication Year:1867
First Publisher:Stuttgart
Instrumentation:Piano Solo 
Genre:bagatelle
Total Playing Time:3 min 30 sec
Copyright:Public Domain
Additional Notes:ロンド形式。楽譜を発見、出版したノールが「テレーゼ」を「エリーゼ」と読み違えたという説が有力である。

Commentary (2)

Author : Nakaduka, Yurina

Last Updated: May 12, 2015
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Composed in 1810, it was published in 1867 in L. Nohl's Neue Briefe Beethovens (New Letters of Beethoven), published in Stuttgart. Due to the absence of any woman named Elise in Beethoven's circle, various theories have been proposed. The theory that it was composed for Therese Malfatti, with whom Beethoven was infatuated (and that 'Elise' was a misreading of 'Therese'), is particularly famous. However, there is also a theory that it was for Elisabeth Röckel (who later married Hummel), and the truth remains unknown to this day.

Note that 'Bagatelle' means 'a short piece'.

Author : Nakaduka, Yurina

Last Updated: May 12, 2015
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

The piece is in 3/8 time, beginning with an anacrusis of repeated minor seconds, conveying an exploratory feel. While the original edition indicates Poco Moto at the beginning, the autograph sketch bore Molto grazioso.

It adopts a three-part A-B-A' structure. Section A consists of two contrasting sections: section 'a' in A minor, based on arpeggios (measures 1-8), and section 'b' in C major (measures 8-23). In section B, a bright melody in C major is played over broken chords (measures 23-38). Subsequently, musical idea 'a' returns in a troubled manner, leading into A'.

In A', the bass plays repeated notes, and an unstable section 'd' (measures 60-82) is introduced, shifting towards borrowed chords in E minor and A minor. After an improvisatory fioritura (measures 78-82), section 'a' reappears one last time (measures 82-104), bringing the piece to a close. Within its 104 measures, the work condenses a variety of contrasting moods.

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