Ludwig van Beethoven

( 1770 – 1827 )

Piano pieces
and
Bagatelles

Comlete piano works

in 10 volums

Original settings
Piano piece
Index
Page
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1807 ?

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1796-98
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Piano piece, WoO 54 : lustig - traurig
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1803-04
A
Andante grazioso con moto
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Piano piece, WoO 59 - "For Elisa"
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Piano piece, WoO 60

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1818
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1789

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Bagatelles Page
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7 Bagatelles, op.33
1802
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1823-24
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Appendix
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Allegretto, Hess 69
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Biography of Beethoven 127

Comments 133
Piano pieces
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6 Edited by Alexej Wilk, © 2007 pdf-Noten Wilk, Berlin

Biography of Ludwig van Beethoven ( 1770 – 1827 )

Ludwig van Beethoven (December 17, 1770 – March 26, 1827) was a German composer. He is generally
regarded 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 reputation
inspired — 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 quickly
gaining a reputation as a virtuoso pianist. Despite gradual hearing loss beginning in his twenties, Beethoven
continued to produce notable masterpieces throughout his life, even when he was totally deaf. Beethoven was
also 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 permanent
employment by the church or by an aristocratic court.

1820

Beethoven was born in Bonn, Germany in 1770, to Johann van Beethoven (1740–1792), one of a line of
musicians of Flemish ancestry, and Maria Magdalena Keverich (1744–1787), whose father had been overseer of
the kitchen at Ehrenbreitstein. Beethoven was one of seven children born to them, of whom only Beethoven and
two 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) celebrated
his birthday on December 16. Beethoven's first music teacher was his father, a tenor in the service of the
Electoral 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 late
from a night of drinking to pull young Ludwig out of bed to practice until morning. Beethoven's talent was
recognized 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 helped
Beethoven publish his first work: a keyboard variation.
In 1787, the young Beethoven travelled to Vienna for the first time, where he played for Wolfgang Amadeus
Mozart who said that Beethoven would soon astonish the world. After his mother was diagnosed with
tuberculosis, Beethoven was forced to return home. Beethoven's mother died on July 17, 1787, when Beethoven
was 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 to
study with Mozart, who had died the previous year. Beethoven received additional instruction from Johann
Georg Albrechtsberger (Vienna's pre-eminent counterpoint instructor) and Antonio Salieri. By 1793, Beethoven
established a reputation in Vienna as a piano virtuoso. His first works with opus numbers, a set of three piano
trios, 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 from
subscription 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 ears
that 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 to
continue living for and through his art. Over time, his hearing loss became profound: there is a well-attested
story that, at the end of the premiere of his Ninth Symphony, he had to be turned around to see the tumultuous
applause of the audience; hearing nothing, he began to weep. Beethoven's hearing loss did not affect his ability
to 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 discussing
music 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.

1804

Beethoven's personal life was troubled. His encroaching deafness led him to contemplate suicide (documented
in his Heiligenstadt Testament). He was attracted to "unattainable" women (married or aristocratic), and he
never 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 own
indecisiveness 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". Several
candidates 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 circle
of 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.
Sources show he indulged in a particular disdain for authority, and for those superior to him in social rank. He
would cease to perform at the piano if the audience chattered among themselves and did not give him their
attention: nor, at soirées, would he perform if suddenly called upon to do so without any warning from his hosts
in advance. Eventually, after many confrontations, the Archduke Rudolph found himself compelled to give
orders 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. He
initially dedicated his third symphony, the Eroica (Italian for "heroic"), to Napoleon in the belief that the
general 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. He
renamed the symphony "Sinfonia Eroica, composta per festeggiare il sovvenire di un grand Uomo" ("Heroic
Symphony, composed to celebrate the memory of a great man"). The fourth movement of his Ninth Symphony
features an elaborate choral setting of Schiller's Ode An die Freude ("Ode to Joy"), an optimistic hymn
championing the brotherhood of humanity. Since 1972 , an orchestral version of the fourth movement has been
the official anthem of the European Union.
Scholars disagree on Beethoven's religious beliefs and the role they played in his work. For discussion, see
Ludwig van Beethoven's religious beliefs. It has been asserted, but not proven, that Beethoven was a
Freemason.
On 8 December 1813 the 7. Symphony became premiered with overwhelming success. It was praised 30 years
later of Richard Wagner than "Apotheose of the dance". During the Viennese of congress Beethoven recognized
that this meeting of the rulers of Europe should lead only to further suppressions. He estimated the human and
mental values of humans. In its youth it was inspired by Schiller, in the later life turned it to Goethe, with whom
it 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 to
itself. Soon it turned out that the relationship Beethovens with its nephew stood under no good star. Beethoven
set 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 large
load, because the attempt of the Suizid was at that time a punishable delikt. Despite (or perhaps straight because
of) these immense private difficulties composed Beethoven in this time one of its most important works, the
Missa Solemnis (1822), which in its size and beauty anything from the desolate surrounding field suspect lets, in
which it did not develop.

1823
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 maintenance
of the order. A obelisk with its name decorated its original grave on the Waehringer cemetery, which was
renamed in the meantime long and today is called Waehringer thrust blank park. In the second half 19. Century
it was exhumiert in the presence by Anton Bruckner, in order to find on the Viennese central cemetery its final
Grave.

Beethoven is generally acknowledged as one of the giants of Western classical music; occasionally he is
referred 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 his
influence on subsequent generations of composers was profound.
Beethoven is widely regarded as one of the greatest masters of musical construction, sometimes sketching the
architecture of a movement before he had decided upon the subject matter. He was one of the first composers to
systematically 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 in
many different compositions and lent some unity to his life's work. He made innovations in almost every form
of music he touched. For example, he diversified even the well-crystallized form the rondo, making it more
elastic 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 eras
of musical history.
As far as musical form is concerned, Beethoven worked from the principles of sonata form and motivic
development that he had inherited from Haydn and Mozart, but greatly extended them, writing longer and more
ambitious 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 concurrently
exploring new directions and gradually expanding the scope and ambition of his work. Some important pieces
from the Early period are the first and second symphonies, the first six string quartets, the first three piano
concertos, and the first twenty piano sonatas, including the famous "Pathétique" 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 most
famous works of classical music. Middle-period works include six symphonies (Nos. 3–8), the fourth and fifth
piano concertos, the triple concerto and violin concerto, five string quartets (Nos. 7–11), the next seven piano
sonatas (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 seven
linked 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. There
are many sketches and notes of it over the first sentence. Barry Cooper prepared these sketches to a first
sentence. The kind of clay/tone is E flat major and the work several marks was already brought in. Also to a
third sentence, one with "Presto" strong Scherzo called, exists to sketches from the year 1825.
Beethoven’s 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 cello
with 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 many
one-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, including
two Mass settings, other works for chorus and orchestra (in addition to the Ninth Symphony), arias, duets, art
songs (lieder), and one of the first true song cycles.

Opera : Fidelio op.72 – 1814

Beethoven monument in Bonn

 Beethovens handwriting
from the Heiligenstaedter Will
October, 6. 1802
Comments
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 and
variations. In general the works arranged in the ascending numerical order found in the Kinsky-Halm
catalogue which is listed in volume I.

The present volume contains all his authentic and complete individual piano pieces and bagatelles. The
definition 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 details
see 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 made
regarding 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 not
so, this is mentioned and explained in the Notes.

Abbreviations:

BHA: Beethoven-Haus und Archiv, Bonn.

SBB: Staatsbibliothek zu Berlin, Preußischer 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 and
corrections, 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.
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 Intermezzo
movement. The source contains the piece in two different forms. The version more accurately notated and
rich 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 its
composition. It is found in the Appendix. The sequence of origin of the two versions cannot be
established, 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 hint
refers to the identical section of the first part (bars 9-47). In bars 104-143 the notation for the right hand
slightly differs from that in bars 9-47; this difference is faithfully reproduced here. Dynamic and
articulation 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 practice
of 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 was
chosen 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 the
analogous bars 27-28 and are, of course, notated out fully.
Bars 151-152 bass voice and 154-155 upper voice: ties added.

Klavierstück "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).
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 31, 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.

Klavierstück (Bagatelle) "Für 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 are
not written out, accompaniment is missing in some places (where it corresponds to former sections), rests
are missing, etc. In addition, this MS bears revisions in Beethoven's hand in thick blue pencil. The date
when 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, but
they were clearly added later. This situation permits us to suppose that II was prepared for the final form
of 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 into
consideration, and a deciphered form (bars 1-22b and 75-81) is given following this note.
Title and dedication. I refers to the piece as "Klavierstückchen'', II has no title but - as a later addition
in 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 to
the commonly used twelve pieces.
Thus "Für Elise'' could be a "Bagatelle'', too. In I, Nohl remarks: "Das ... Klavierstückchen stammt
ebenfalls aus dem Nachlaß der Frau Therese von Droßdick gab. Malfatti ... Es ist nicht zwar für Therese
geschrieben, soldern enthält von Beethovens Hand die Aufschrift: "Für Elise am 27 April zur Erinnerung
von L. v. Bthvn." - welcher Elise ... nicht erinnert''. ("The little piano piece comes from the legacy of Mrs
Therese Droßdick born Malfatti. It was written for Therese but has the inscription in Beethoven's hand
"Für Elise ... etc." - but for which Elise - there is no record.) The supposition first expressed by Max
Unger that Nohl misread the name Therese as Elise is well justified by the fact that Beethoven was to have
married Therese Malfatti in 1810.
Remarks. The tempo indication is given following II (blue pencil addition). I has "poco moto'' probably
a 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).
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 tempo
indication "molto grazioso"; bass part has further strong semiquaver rests put at the beginning of bars 2-4
and 6- 12 (without deleting semiquaver rests in bars 2 and 3 - in later bars they are not written outs; and
some bass notes corrected in bars 4, 8a and 8b. Based on these emendations Beethoven could have had the
following 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:

Klavierstück für Marie Szymanowska, WoO 60 (Piano piece „For Marie
Szymanowska“)

Sources: I: autograph, Paris, Musée Chopin (former Musée 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.

Klavierstück für 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.

Klavierstück à Sarah Burney Payne, WoO 61a (Piano piece à 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 by
Beethoven: ''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 middle
voice, bars 100 and 101 bass voice: ties.

Fantasia, op. 77
Sources: I: autograph, BBH, Mh 8
II: first edition by Breitkopf & Härtel, 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 .
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 written
afterwards in the autograph and give rests instead.

Bagatelle, WoO 56
Source: autograph, Bibliothèque 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 rewrote
the whole bass part in bars 36b - 39; maybe he was mistaken in bar 39 in writing one leger line less, thus
the 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 André, 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. 1
Bars 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 original
abbreviation 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 a 1 - 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.
Bar 100, lower staff: the chord in all sources consists of the three notes g - b - f 1, but III in bar 92 - a
very 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. 6
Tempo 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.

11 Bagatelles, op. 119

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 bagatelles
nos 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 set
was 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 series
with 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), the
rest in the Bibliothèque Nationale, Paris, Coll. Malherbe, Ms 52.
I 3: autograph sketches for nos 2 and 4, Bibliothèque Nationale, Paris, Ms 70
II: first (?) edition by Schlesinger, Paris, 1823
III: first (?) edition by Clementi, London, 1823
IV: edition by Sauer & Leidersdorf, Wien, 1824
V : edition by Diabelli, Wien 1826?-1828?
VI: F. Starke: Wiener Pianoforte-Schule, Diabelli, Wien, 1821
The printed sources differ from each other as well as from the autograph. Dr Alan Tyson argues
convincingly the reliability of the London print. But one cannot be sure which of those emendations and
additions found in this edition were intended or accepted by Beethoven and which are the
interventions 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 copied
from 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 been
taken 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. 4
Time 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.
No. 8
Bars 17-19 are reproduced following the printed sources. I 2 hardly legible because of many alterations.

No. 9
Tempo 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 part
an octave lower and the bass an octave higher.

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

6 Bagatelles, op. 126

Sources: I: autograph, BBH, Mh 23 A1: sketches for Nos. 1, 2 and 6, Bibliothèque 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. 3
Andante cantabile e grazioso from II and III. In I tempo altered, hardly legible, only an undeleted
expressive can be seen.
Bar 8, bass: crotchet value of first note follows III, I and II have a quaver.

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

No. 6
The 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 corrected
thus:

etc.
i.e. the repetition of A flat in bar 34 is avoided but left between bars 35/36. In I 1 Beethoven also
corrected 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, Bibliothèque Nationale, Paris, Ms 82

The autograph in its present state consists of two connected leaves, whose four pages are all written in
full. The 1st, 2nd and 3rd pages contain the beginning and end of the piece in a well legible, pretty clean
notation. 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 with
what he had written down. He recomposed the section between bars 74-102, writing this on the present
3rd 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 a
sketch 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 be
taken 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:

 Edited by
Alexej Wilk
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© 2006 pdf-Noten Wilk, Berlin

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