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Beethoven: Fur Elise, Bagatelles Opp. 33, 119 & 126

Paul Lewis

Classical - Released July 10, 2020 | harmonia mundi

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‘Miniature’ Beethoven! In our collective idea of the piano, Beethoven’s name is associated with the monument of the thirty-two sonatas, which have often been elevated to the status of the ‘New Testament’ beside the ‘Old Testament’ of Bach’s Well-Tempered Clavier. Yet, over a period of decades, the composer of Für Elise constantly returned to the genre of the bagatelle, which he called ‘trifles’ but which actually meant a great deal to him. In this small form par excellence, as in the sonata, Beethoven laid the foundations for a flourishing new genre, the piano miniature. Whether they last a few minutes or a few seconds, these Bagatelles are masterpieces! © harmonia mundi
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Schubert, Mozart & Beethoven

Menahem Pressler

Classical - Released October 28, 2013 | La Dolce Volta

Hi-Res Booklet Distinctions Choc de Classica
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Beethoven: Piano Sonata No. 30, Op. 109 & Bagatelles, Op. 126

Stephen Kovacevich

Classical - Released August 14, 2020 | Warner Classics

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Beethoven: Für Elise; Eroica Variations, Op.35; 6 Bagatelles Op.126; 6 Ecossaises

Alfred Brendel

Classical - Released January 1, 1985 | Decca Music Group Ltd.

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Beethoven: Cello Sonatas, Op. 102, Bagatelles, Opp. 119 & 126

Andreas Staier

Chamber Music - Released June 10, 2022 | harmonia mundi

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From the mid-1810s until the end of his life, Beethoven constantly tested to the limit the forms he had inherited from Haydn and Mozart. His last two cello sonatas bear witness to this structural preoccupation, which was to open up so many new spaces . . . as do the final sets of Bagatelles, as disconcerting as they are innovative! Two genres shrewdly linked by Andreas Staier and Roel Dieltiens in these interpretations, in which eloquence merges with historically informed performance practice. © harmonia mundi
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Beethoven: Bagatelles, Op. 33 & Op. 126 - Gould Remastered

Glenn Gould

Classical - Released January 1, 1975 | Sony Classical

Hi-Res Booklet
There are always two caveats with any recording by Canadian pianist Glenn Gould. First, Gould was always humming and moaning along with his own performances. Second, he fooled around with tempo, articulation, rhythm, form, structure, and expressive markings. This means potential listeners must always be advised that any expectations they bring to the music will almost always be utterly confounded by Gould's performance. So it is here in his 1974 recording of Beethoven's Bagatelles Opp. 33 and 126. Taped in Gould's own Toronto studio, Andrew Kazdin's stereo sound here puts the listener virtually on the bench with the pianist, and one can hear most if not all of his irrepressible vocalizing. Performed at the peak of Gould's enthusiasm for recording, his playing here is wild and wooly. Sometimes Gould adds all sorts of extraneous embellishments: check out the rolled chords in the first statement of the E flat major Bagatelle that opens the Opus 33 set. Sometimes he totally changes the tempo: check out the central Andante amabile e con moto of the E flat major Bagatelle that closes the Opus 126, which Gould takes as an Adagio ordinario. Sometimes Gould plays it so straight that the effect is affectless -- check out the E flat major Bagatelle at the center of Opus 126 with its dry articulation and détaché tone. And always there is Gould's vocal obligato, quiet but ever present. One may be ultimately convinced by what Gould does with the music or ultimately convinced that he is simply weird. But no one can ignore what Gould does with his voice. In the end, as in the end of every review of Gould, what can one say but caveat emptor!© TiVo
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Beethoven: Piano Sonata No. 3 - Bagatelles, Op. 126, Nos. 1, 4 & 6 - Piano Sonata No. 29, "Hammerklavier"

Sviatoslav Richter

Classical - Released October 29, 2012 | Ica Classics

This release reproduces a famous 1975 concert that has been only intermittently available, and never on CD in an authorized version. Even with plenty of hiss, and a London audience that coughs brutally through the key transition between the third and fourth movements of the Piano Sonata No. 29 in B flat major, Op. 106 ("Hammerklavier"), the depth and power of these performances show through. It is said that Richter, when he made his Moscow debut, played for a sparse crowd at the beginning, but that those in attendance rushed out at intermission to get their friends, and by the end the house was full. This performance has that quality. Everywhere, Richter seems to strike a balance between structural insight and virtuosity, or, perhaps better, to understand that balance as it exists in Beethoven's music. The opening Piano Sonata in C major, Op. 2/3, is the highlight of the whole album; it seethes with Beethoven's youthful energy, and Richter is unerring in applying explosive attacks at just the right time. Hardly less impressive is that vast "Hammerklavier," where Richter is one of the few who did not fudge some part of the finale, and who gives the opening two movements their proper weight to balance the giant slow movement and finale. There is in Richter's playing an uncanny combination of making the listener wonder what is coming next, yet never losing control of the whole. A rightly renowned recording that belongs in any serious Beethoven collection.© TiVo
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Beethoven : Sonates n° 17, 24, 30 - Bagatelles op. 126

Andrei Korobeinikov

Chamber Music - Released November 24, 2009 | Mirare

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Concerto pour piano n° 1 - 6 Bagatelles, op. 126

Piotr Anderszewski

Classical - Released March 21, 2008 | Warner Classics

Booklet
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Beethoven: 6 Bagatelles, Op. 126 & Piano Sonata No. 31, Op. 110 (Live)

David Fung

Classical - Released August 7, 2020 | Steinway and Sons

Booklet
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Ludwig van Beethoven: 6 Bagatelles, Op. 126

Lizaveta Bormotova

Classical - Released January 18, 2024 | Lizaveta Bormotova

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Beethoven: Bagatelles Op. 33, WoO 52, WoO 56, Op. 119, Op. 126

Grant Johannesen

Classical - Released July 24, 2020 | Mezzoforte

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