Unleashed Passion: Olga Scheps

by Georg Predota  January 4th, 2025

The highly acclaimed pianist Olga Scheps was born on 4 January 1986 in Moscow, but she moved to Germany at a young age. She won several local competitions and played her debut performance with orchestra at the age of 14. Since then, she has gained widespread recognition for her delicate yet powerful touch and deep emotional connection to the music.

Olga Scheps

Scheps is particularly praised for her lyrical phrasing, refined dynamic control, and her ability to navigate complex works with both technical precision and expressive depth. Her skilful blending of elegance and sensitivity provides for performances that are both intellectually stimulating and emotionally resonant.

As a critic wrote, “her versatility, along with her ability to convey the emotional essence of each composer, has solidified her as one of the leading pianists of her generation.” To celebrate her birthday on 4 January, we decided to feature 5 of her most outstanding performances.

Frédéric Chopin: Ballade No. 3, Op. 47 

Olga Scheps brings a distinct artistic voice to Chopin’s music. Known for her ability to create a profound emotional connection with the listener, her performances are marked by elegance and restraint but also by a sense of passionate intensity. She doesn’t shy away from the dramatic moments in Chopin’s works, but she never allows them to overwhelm the lyrical beauty of the pieces. I suppose we could call her approach thoughtful, as she seeks to reveal the inner essence of the music rather than relying on showy gestures.

Scheps has been widely praised for her Chopin interpretation. She is often noted for her ability to communicate the full emotional range of Chopin’s works. As a critic wrote, “her delicate phrasing, virtuosic execution, and deep emotional understanding of Chopin’s style have made her a leading interpreter of his music today.”

Ludovico Einaudi: Una Mattina

Olga Scheps brings a deep emotional connection to Ludovico Einaudi’s music, skilfully balancing its meditative calm with moments of emotional intensity. Her use of rubato enhances the lyrical nature of the melodies, making her performances feel intimate and personal. Technically, she excels in executing the repetitive motifs of Einaudi’s minimalist style with precision and fluidity, avoiding monotony while maintaining a natural flow.

Scheps also demonstrates exceptional sensitivity to tone and dynamics, playing with clarity and delicacy and adapting her touch to bring out both the subtle harmonies and emotional peaks of the music. Her recordings of Einaudi have received positive reviews, as she underscores the fine balance between simplicity and expressiveness, “making her performances of Einaudi’s works both captivating and moving.”

Ludwig van Beethoven: Piano Concerto No. 3 in C minor, Op. 37 

In her Beethoven interpretations, Scheps is highly praised for her clarity of playing, her emotional depth and the intellectual rigour of her approach. Beethoven’s wide range of emotional extremes and technical challenges is a natural fit for Scheps, whose playing blends expressive lyricism with precise technique.

She is particularly praised for her ability to balance the grandeur of Beethoven’s works with an intimate, thoughtful approach, bringing both strength and sensitivity to the compositions.

Scheps easily captures the full range of Beethoven’s emotional and intellectual landscapes. Her ability to handle the complexities of Beethoven’s music while maintaining a sense of lyricism and expressiveness makes her, according to critics, “one of the most compelling interpreters of the composer’s works today.”

Erik Satie: 3 Gnossiennes

Schep’s refined and sophisticated reading of Erik Satie has been appreciated by critics and audiences alike. According to critics, “she is able to capture the essence of Satie’s minimalist style without making the music feel dry or overly repetitive.” Her performances are frequently praised for their clarity, sensitivity, and lyrical beauty, and they stand out for their poise, emotional depth, and sensitive touch.

Franz Schubert: Wanderer Fantasie, D. 760

I have left the best for last, as Scheps’ interpretation of Franz Schubert is highly praised for its elegance, emotional depth, and sensitivity. The complex emotional landscapes of Schubert’s music are particularly well-suited for Scheps’ temperament, for her refined touch and expressive phrasing. She has the uncanny ability to penetrate the soul of Schubert’s music, capturing both its delicate beauty and underlying melancholy.

A critic writes, “there is a profound understanding of the music’s subtle harmonic shifts, which she navigates with sensitivity and intelligence. Whether in the wistful beauty or lyrical expansiveness of Schubert’s music, Scheps’ interpretations of Schubert are always filled with natural grace and expressive honesty.”

It’s All in the Stars

12 Greatest Composers of the Zodiac

By Hermione Lai, Interlude

I must admit that I occasionally check my horoscope. Many times, I look upon my daily predictions with a playful suspension of disbelief, but occasionally, it seems to fit really well. I know as a fact that many of my classmates also consult horoscopes on a regular basis, almost like searching for a spiritual connection.

In Western astrology, everything in the cosmos and here on Earth is tightly interconnected, and the movement of the celestial bodies determines outcomes here on Earth. Sun, moon, planets and even comets are observed across a circular map called the “zodiac.” That map divides the night sky into twelve segments named after various constellations. That’s just a fancy word for “a togetherness of stars,” and they are often interpreted as images of animals.

Venice Astrological Clock

Astrology suggests that the position of celestial bodies at the time of birth can provide insight into the strengths and weaknesses, the natural inclination, and even the potential career path of individuals.

Some recent studies have shown that there is a correlation between brain function and astrological signs and that these signs can affect personalities and behaviour. We thought it might be fun to put this theory to the test by looking at the characteristics of the 12 Greatest Composers of the Zodiac.

Aries (The Ram)

Johann Sebastian Bach: Brandenburg Concerto No. 4 in G Major, BWV 1049 

Aries, the Ram, is indeed a very powerful sign, and the Sun transits this constellation between 20 March and 21 April. This astrological sign is ruled by Mars, the planet of war and energy, and people born under the sign of Aries, are said to be energetic, unstoppable, bold, devoted and encouraging. On a bad day, however, they tend to be proud and self-centred, stubborn, reckless, jealous, bossy and impulsive.

Elias Gottlob Haussmann: Johann Sebastian Bach, 1746

Johann Sebastian Bach was born on 31 March, and he could certainly be the Aries poster child. He was always fighting with authorities, and as he once said, “they caused a life of envy and hindrance.”

As we know, Bach had anger management issues, but he also had the capacity for tenderness. He had normal flaws and failings, which made him very approachable, but he had this unfathomably brilliant mind and a capacity to hear music and then deliver music that was beyond the capacity of pretty well any musician before or since. In short, Bach was unstoppable in his determination and his work ethic; he was a true Aries.

Taurus (The Bull)

Pyotr Ilyich Tchaikovsky: Nutcracker Suite Op. 71a 

Between 20 April and 20 May, the Great Bull of Heaven charges across the celestial sky. This powerful constellation is ruled by Venus, the planet of love, attraction, beauty, satisfaction, creativity and gratitude. Individuals born under this sign are supposedly firmly grounded and have the ability to see things from a practical and realistic perspective. Their tender nature makes them excellent cooks, gardeners, lovers, and artists.

Pyotr Ilyich Tchaikovsky

Born on 7 May 1840, Pyotr Ilyich Tchaikovsky was indeed a keen gardener who “loved our Russian nature more than any other.” He had a fantastic personal garden in Klin, and he loved flowers. I am not sure if Tchaikovsky was a good cook, but he loved to eat “kulebyaka,” a kind of pie filled with fish and rice. And when it comes to the pleasure of the flesh, he certainly had an active sex life.

Tchaikovsky was artistically supremely gifted, with his music reflecting the rollercoaster ride of the human experience. Tchaikovsky tellingly wrote, “I have found nothing to ease my troubled soul. But I would go mad were it not for music.” Tchaikovsky took the criticism to heart, and he was prone to extended bouts of guilt, depression and self-pity.

Gemini (The Twins)

Richard Wagner: “Ride of the Valkyries” 

This third astrological sign, with the sun crossing the constellation of Gemini between 21 May and 21 June, represents mythological twins. While most signs have one very prominent trait, Gemini represents two different personalities in one. They are sociable, communicative and ready for fun, with a tendency to suddenly get serious, thoughtful and restless.

Richard Wagner

Richard Wagner was born on 22 May, and he was described as “the constant union between profound reflection and ebullient spontaneity. With him, excessive thinking had not dulled his vital spark, and whatever life’s vicissitudes, he never ceased to philosophise, combining a calculating, metaphysical intellect with the joy and eternal youth of a truly creative temperament.”

Wagner was quick to anger, quick to tears, quick to laughter, and quick to frenzy. He was highly intelligent and tended to be overly analytical. Gemini apparently struggled with commitment, and Wagner left his share of bludgeoned relationships in his wake. He loved to be the life of the party, and if we can trust contemporary reports, he just couldn’t stop talking. All in all, it seems that Richard Wagner fits the characteristics of being born under the tropic of Gemini rather well.

Cancer (The Crab)

Gustav Mahler: Song of the Earth, “Farewell” 

The sun crosses the astrological sign of Cancer between 22 June and 23 July. Individuals born under that sign are supposedly nesting people who take great pleasure in the comforts of home and family. Cancers are maternal, domestic, and love to nurture others. They are happiest when their home life is serene and harmonious.

Gustav Mahler, 1892

Cancers value tradition, and they tend to wear their hearts on their sleeves. Frequently, they are more attached to the romantic ideal than to reality, and Gustav Mahler, born on 7 July, did enjoy an occasional feeling of optimism and euphoria. An astrologer wrote that if “Cancer was a nightmare, it would be one with family dynamics in it, highly psychological.”

Gustav Mahler was desperately in love with his wife Alma, and he had a couple of sessions with Sigmund Freud. He was incredibly possessive and jealous, not to mention clingy. As he wrote, “How much I love you, you my sun, I cannot tell you that with words. I can only lament to you my longing and love.” With these brief astrological predictions in mind, Mahler seems to fit the tropic of Cancer like a glove, don’t you think?

Leo (The Lion)

Claude Debussy: “Clair de Lune” 

If your birthday falls between 24 July and 23 August, you are born under the astrological sign of the Lion. As Leo season in the Northern Hemisphere starts at the height of Summer, the sun is the planetary ruler. People born under that sign radiate solar confidence and heart-felt courage.

The most famous composer born under the sign of Leo on 22 August is Claude Debussy. He had a highly complex personality, and he was not a socially outgoing or bold person. His lover Marguerite Vasnier writes: “He was very quick to take offence and extremely sensitive. The slightest thing put him in good humour or made him sullen or angry. He was very unsociable and never hid his displeasure as he did not often allow himself to be with strangers.”

Claude Debussy by Marcel Baschet, 1884

Debussy had a sullen attitude towards life and was remarkably sensitive, uncomfortable, and quick to defend. As Debussy later explained, “That’s the way I’m made.” Once we add depression, two marriages, attempted suicides, secret affairs and an incident with a revolver, we find a personality always chasing for some elusive form of contentment. Debussy was essentially an introvert who hid behind his extroversion.

Virgo (The Maiden)

Antonín Dvořák: Symphony No. 9 “From the New World” 

Virgo, the Goddess of innocence and purity, gives her name to the astrological sign crossed by the sun between 24 August and 23 September. People born under that sign are always looking for goodness in humankind, and predictably, disappointment is not far behind.

Dvořák in 1870

Their deep sense of humanity informs a personality that is said to be analytical, kind, hardworking and practical, but they tend to be highly critical of themselves and others. If they are disappointed once too often, they will distance themselves from other people. They would rather be out in nature than anywhere else, adoring the wilderness and nature’s creatures.

The poster child for the sign of Virgo might well be Antonín Dvořák, born on 8 September.

Nature played a major role in his life and his work. He took several nature walks each day, did a lot of gardening, planted trees, and kept pigeons. Nature was a powerful source of inspiration for Dvořák, and his “Symphony from the New World” evokes a sense of grand, unfolding vistas.

Libra (The Scales)

Franz Liszt: Hungarian Rhapsody No. 2 

Libra, which falls between 24 September and 23 October, is the only zodiac sign not represented by a living creature. Instead, it depicts the weighing scales of the Greek goddess of justice. Associated with balance, individuals are said to be obsessed with symmetry and strive to create equilibrium in all areas of life.

Franz Liszt in 1870

This particular astrological sign is ruled by Venus, the planet that governs love, beauty and money. Libras adore high art, intellectualism, and connoisseurship. Frequently, they surround themselves with objects and environments that reflect their exquisite tastes. Supposedly, they love harmonious partnerships with fashionable mates and also make for excellent designers, decorators, art critics, and stylists.

My personal pick for this sign is Franz Liszt. He certainly fits the art critic category, and he used his hair to good effect. During the early part of his life, he was well known for his virtuosic displays, lavish tastes and a long line of “arm candy.” However, he was loyal to his friends and generous in support of young talent. Once you take away his flashy onstage persona, Liszt was almost painfully shy and devoutly religious in later life.

Scorpio (The Scorpion)

Niccolò Paganini: Caprice No. 24 in A minor 

Scorpio is the eighth sign of the zodiac and is said to govern the period from about 24 October to 21 November. Scorpios possess intense personalities and strong, passionate emotions. Seductive and beguiling, Scorpio is the sign most closely associated with sex. It’s not all about sensual pleasures, however, as Scorpios crave physical closeness and spiritual illumination.

My favourite Scorpio composer, Niccolò Paganini, was born in Genoa on 27 October.

Nicolo Paganini, by Richard James Lane

He was a born leader with extraordinary drive and determination. Once he made up his mind to study the violin and discover new and hitherto unsuspected effects that would astound people, nothing would stand in his way.

He became obsessed with fame and money, and his relentless ambition translated into increasingly bizarre behaviour. With Paganini, it’s rather difficult to distinguish between fact and myth, and rumours abound. One thing for sure, Paganini was always concerned about appearances and the need to project success and self-satisfaction. This particular Scorpio demanded unconditional respect and attention.

Sagittarius (The Archer)

Ludwig van Beethoven: Piano Sonata No. 14, Op. 27, No. 2 “Moonlight”

Sagittarius is not an archer in the conventional way. Rather, he is actually a centaur, a creature notoriously wild, lusty, and violent when intoxicated. He rules the nightly sky between approximately 23 November and 22 December. Individuals born under this sign are curious and energetic, and their philosophical view motivates them to wander around the world in search of the meaning of life.

Joseph Willibrord Mähler: Beethoven, 1804–1905 (Gesellschaft der Musikfreunde in Wien)

Since centaurs are half-man and half-horse, one can almost sense the contradictions governing this creature’s personality. There is no better example of a Sagittarius composer than Ludwig van Beethoven, who was baptised on 17 December. Beethoven wasn’t particularly well educated, but his strength of character produced powerful effects on those around him.

Supremely idealistic and eternally in search of tranquillity and freedom, he showed utter disdain for discipline and authority. Often impatient and tactless, he thought exceedingly highly of himself in artistic matters. And while he did accord the greatest respect to other artists, he had very little use for common humanity. And let’s not forget that as a true Sagittarian, he felt the presence of God in the beauty of nature.

Capricorn (The Goat)

Alexander Scriabin: Poem of Ecstasy 

The astrological sign Capricorn, which rules the skies between 22 December and 20 January, is governed by the planet Saturn. People born under this sign are said to exhibit strong and distinctive personality traits. Among the strengths, Capricorns are ambitious, determined, hard-working and very well organized. Yet, they can be overly critical, insufferable know-it-all, sarcastic, condescending, and always expecting the worst.

Alexander Scriabin

Alexander Scriabin was squarely born under the tropic of Capricorn, and his personality seems to reflect that fact. Described as a bizarre blend of the pragmatic and the preposterous, Scriabin did have affectionate family ties and a pedantic way of organising his schedule and travels.

Scriabin suffered from hallucinations, and he was certainly narcissistic. Convinced of his personal power and self-importance, he envisaged something apocalyptic, whereby the whole of humanity would be intoxicated by his music and mesmerized by his God-like magnetism and omnipotence. I am not entirely sure that this would accurately describe the average person born under the tropic of Capricorn, but they do generally set rather high standards for themselves.

Aquarius (The Water-bearer)

Wolfgang Amadeus Mozart: The Magic Flute, “Queen of the Night aria” 

The sun transits Aquarius, the water-bearer, between January 21 and February 20. It is said that Aquarius is the most humanitarian astrological sign and that people born under this sign are revolutionary thinkers who support the power of the people. Free-spirited and eccentric, it is easy to spot an Aquarius by their unusual hobbies and nonconformist attitude.

Although the Aquarius can be shy and quiet, they can also be eccentric and highly energetic. They love being around good friends and like to help others, but can be highly temperamental and uncompromising. People born under the sign of Aquarius, it seems, have very complex and nuanced personalities.

Wolfgang Amadeus Mozart

This seems certainly true of the most famous Aquarius composer, Wolfgang Amadeus Mozart, born on 27 January. Much has been written about the possibility of a personality disorder in the sense that he always needed to be nurtured and supported by others and that Mozart found it very difficult to be alone. We do know that he had violent temper outbursts, and recently, it has been suggested that Mozart might have suffered from Tourette’s syndrome. Whatever the case may be, Mozart’s music is just as nuanced and complex as his personality.

Pisces (The Fish)

Frédéric Chopin: Nocturne in C-sharp minor, Op. Posth. 

The sun transits the constellation of Pisces between 19 February and 20 March, and as the final sign of the Zodiac, it absorbs the hopes and fears of all other signs. Individuals born under this sign have a mystical, intuitive, and transcendental dynamic.

Pisces are selfless, spiritual, and very focused on their inner journey. They are sensitive seekers who have the potential to bring a soulful, healing energy to their relationships and communities. Common wisdom suggests that Pisces are compassionate and empathetic and wired to offer spiritual and artistic gifts to the world. These are the poets, musicians, painters.

Portrait of Frédéric Chopin by Maria Wodzińska

And that brings us to Frédéric Chopin, born on 1 March. Judging by his compositions, Chopin could well be the musical poster child for this particular astrological sign. Ruled by sensitivity and emotions, this visionary fish was a kind and gentle artist who shared his experiences in music. He was easily wounded emotionally, but he was empathic and compassionate. I don’t know if, as astrologers predict, Chopin was clairvoyant, but he certainly fits the personality profile rather well.

Now you know my personal much-loved composers for every astrological sign; what are your favourites?

Listen to the Best of Baroque Music This Christmas!

by Hermione Lai, Interlude

There is no better way to celebrate the holiday season than to listen to joyful and uplifting Baroque music. For me, it’s the best and most inspiring classical Christmas music, and it includes Messiah by Handel, the beautiful Christmas Oratorio by J.S. Bach, the pastoral Christmas Concerto by Arcangelo Corelli, and the emotional Christmas Cantata by Alessandro Stradella. Why not listen with me to the best of Baroque music this Christmas? 

A Performance of Handel’s Messiah © shepherdexpress.com

We all know that George Frideric Handel (1685-1759) was one of the all-time great composers. And around Christmas you can hear his popular oratorio Messiah wherever you go. Handel actually composed the piece in the middle of severe financial difficulties; and then he had a brilliant idea. He talked to the clergyman Charles Jennens about a text on the Messiah combining verses from the King James Bible. The finished text was very long, and it is subdivided into three parts. First is the Prophecy of the Messiah, followed by the Passion and Redemption of Christ, and finally a hymn of Thanksgiving. Handel composed all the music in about three weeks. There are recitatives, arias and large choruses, and this monument of Baroque music has easily become one of the composer’s most popular and enduring works. Only the first part of the Messiah deals with Christmas. There is a majestic instrumental “Sinfonia,” and the reassurance of Christ’s birth is expressed in the beautiful recitative “Comfort ye, my people.” This is followed by the virtuoso aria “Ev’re valley” and the magnificent chorus “And the glory of the Lord.” Another chorus “And he shall purify” is followed by a magnificent alto aria, with the chorus joining to rejoice in Christ’s birth. The joy of the occasion is jubilantly extended in the fast choral section “For unto us a child is born.” The Christmas story always tells of shepherds, and the instrumental “Pifa” makes reference to the serenity of a rural setting. “There were Shepherds” is part of a brilliantly orchestrated accompanied recitative “And lo, the Angel of the Lord.” The music and text go back and forth between telling us the Christmas story, and showing us the feelings of the characters. “And the Angel said unto them” is answered by the chorus exclaiming the majestic hymn “Glory to God in the highest.” There is another beautiful operatic aria “Rejoice greatly,” followed by the recitative “Then shall the eyes of the blind.” The gorgeous alto melody “He shall feed his flock” is reused in “Come unto him” by the soprano. The first part of this Baroque masterpiece ends with the choral scene “His yoke is easy.” Maybe you have already figured out that the famous “Hallelujah Chorus” is not part of the Christmas story. But that’s probably not really important, as the uplifting music and message is perfect for a festive holiday season. 

Adoration of the Shepherds by Peter Paul Rubens
© Wikipedia

One of the top pieces of classical Christmas music is J.S. Bach’s Christmas Oratorio. But it’s actually more than one composition. Bach was working in Leipzig, and part of his job was to compose music for the two main churches of the city, St. Thomas and St. Nicholas. Christmas season in Leipzig was celebrated in Leipzig from Christmas Day through Epiphany. Epiphany is all about the adoration of the Magi and the Flight into Egypt, and it is celebrated on January 6th. Bach needed to compose a cantata each for the six feast days of Christmas. The first three cantatas celebrate the first three days of Christmas, then comes New Year, the Sunday after New Year, and Epiphany. On 26 December 1734 Leipzig heard the first cantata describing the annunciation to the shepherds, in which an angel tell a group of shepherds about the birth of Jesus. Of course, the shepherds are all terrified but the angel explains “Today in the town of David a Savior has been born to you; he is the Messiah, the Lord. This will be a sign to you. You will find a baby wrapped in cloths lying in a manger.” A great many more angles come and sing praise to God, and so the shepherds travel to Bethlehem and find Mary and Joseph and the infant Jesus. In 1734 Bach was at the height of his compositional powers, and he created a wondrously dramatic and celebratory work. Passages from the bible are assigned to the tenor evangelist, who musically recites the text. A large chorus sings the response of the congregation, and also the praise and thanksgiving for the Christmas message. And then we have the most gorgeous Baroque arias that allow for further reflection. You can hear in every tone the joy of the season, and Bach added trumpets and timpani to make the music even more festive. Bach’s Christmas Oratorio is another monument of Baroque music and one of the most wonderful pieces of classical Christmas music. 

Some of the best Baroque music for Christmas is connected to some really interesting characters and stories. Take for example the Cardinal Pietro Ottoboni, a man sworn to celibacy by the church. But the Cardinal had other ideas, as he loved pomp and sensual pleasure. Nobody knows how many mistresses wandered through the Cardinal’s bedroom, but rumors suggested that he had between 60 and 70 children. The Cardinal was also a lover of the arts and specifically music, and he constructed himself a theatre. He also wrote his own opera and oratorio texts, and asked various composers to set them to music. Ottoboni was surely a major eccentric, and he surrounded himself with an extended circle of queer artists. He thought that being queer made artists more creative, and among his hires was the violinist and composer Arcangelo Corelli (1653-1713). Corelli and his lover Matteo Fornari soon became the star attractions as they came up with a new kind of music, which they called “concerto.” All that means is that a bigger orchestra contrasts a small group of performers or soloists. Maybe the Cardinal Ottoboni asked Corelli to compose him a “Christmas Concerto.” Nobody knows if that was actually the case, but the last movement has a beautiful pastoral quality. When Antonio Vivaldi first heard this piece he excitedly wrote, “Concerto, fatto per la note di natale” (Concerto composed for Christmas Eve.) It is one of the most touching Baroque instrumental pieces for Christmas, and a wonderful way to say Merry Christmas musically. 

For the final selection of the best Baroque music for Christmas, I have selected the Christmas Cantata by Alessandro Stradella (1643-1682). He was one of the most versatile and lively Italian composers in his day. He enjoyed a colorful and dazzling career as a freelance composer who managed to make countless enemies along the way. He tried to embezzle money from the Roman Catholic Church, and he had a weak spot for married women or the mistresses of the powerful and mighty. One evening while walking away from a little encounter, two assassins attacked him. By sheer luck he managed to survive the attack, but he was not that lucky a couple of years later when his life was tragically ended at the age of 42. A shadowy assassin stabbed him to death, having been hired by a jealous husband. Stradella was a highly sought after composer and none of his personal scandals affected the demand for his music. A group of wealthy patrons even provided him with a house, food, and a servant in addition to a generous yearly stipend. And we can certainly hear Stradella’s passion in his Christmas Cantata, first heard on Christmas Eve. Just listen to the beautiful pastoral atmosphere throughout the piece. There is no fake theatre, but just an emotional prayer from the Virgin Mary to her son. I guess we can all use a prayer during these unsettling times, and wherever you are in the world, may the best of Baroque Christmas music lift your spirits.

Ludwig van Beethoven: A “Bagatelle” Tribute

by Georg Predota

Arguably, the first composer to write true piano music was Ludwig van Beethoven. To be sure, he had tremendous technical ability, and critics wrote, “He was attacking pianos with such force that during the performance, keys, hammers and strings would be flying.”

Ludwig van Beethoven at 26 years old

However, virtuosity is all but one aspect of Beethoven’s piano repertoire, as he was able to compose music with “glowing passion, exuberance, heroism, nobility and dramatic pathos.” His 32 piano sonatas and the late variation sets are at the pinnacle of piano literature, but Beethoven also composed three sets of what he titled “Bagatelles.” 

That particular title implies no specific form, and Beethoven himself called the first six of his Op. 119 “Kleinigkeiten,” or trifles. So, just how serious are these Bagatelles? Well, some of the bagatelles were originally planned as movements for piano sonatas but were subsequently rejected by Beethoven before publication. This seems to suggest that some of the bagatelles, as potential sonata movements, are the compositional equal to sonata movements in quality and completeness.

Beethoven’s house of birth in Bonn, 2008

One thing for sure, the bagatelles are a series of short and sometimes light-hearted piano works in a variety of contrasting characters and moods. It’s hardly surprising that some scholars consider Beethoven’s bagatelles to be the first 19th-century character pieces. To celebrate Beethoven’s baptism on 17 December, let us briefly explore his Bagatelles Op. 33, Op. 119, and Op. 126.

Bagatelles Op. 33

The first of Beethoven’s three published sets of Bagatelles was issued in 1803 by Bureau d’Arts et d’Industrie. The surviving sketches and the nature of the music suggest that Beethoven simply compiled a number of separate pieces that originated anywhere between boyhood and the start of the new century. All 7 Bagatelles display conventional musical forms and styles, and most are written in three-part form.

Photograph of bust statue of Ludwig van Beethoven by Hugo Hagen

Beethoven thoroughly revised his Bagatelles shortly before publication. At the same time, however, he was incredibly busy and worked on his Piano Concerto No. 3, the Symphony No. 2 and the oratorio “Christ on the Mount of Olives.” We still don’t know exactly why Beethoven devoted so much time to the Bagatelles, but Paul Lewis suggests that “in light of Beethoven’s rising fame, it was to satisfy a growing demand from students and amateurs for easy pieces from his pen.”

We find a simple and innocent tune in No. 1, garnished with plenty of ornamentation and light-hearted transitions. No. 2 has the character of a scherzo that humorously manipulates rhythm and accents, while No. 3 appears folk-like in its melody and features a delicious change of key in the second phrase. The A-Major Bagatelle No. 4 is essentially a parody of a musette with a stationary bass pedal, and the minor-mode central section offers harmonic variety.

Beethoven provides some musical humour in No. 5 as this playful piece is a parody of dull passagework. In a really funny moment, the music gets stuck on a single note repeated over and over, like Beethoven can’t decide what to do next. In the end, he decides to repeat what he has already written before. In No. 6, we find a tune of conflicting characters, with the first phrase being lyrical and the second phrase being tuneful. The beginning of No. 7 almost suggests Beethoven’s Waldstein Sonata.

Bagatelles Op. 119

Beethoven’s Bagatelles Op. 119 No. 1 manuscript

In 1823, Beethoven was finishing his late piano sonatas Op. 109, 110, and 111, and he was working on the Diabelli Variations and the Missa Solemnis. In that year, he wrote to Ferdinand Ries in London, “you are receiving six bagatelles or trifles, and again another five, which belong together, in two parts. Dispose of them as favourably as you can.” Ries sold the set to the London publisher Clementi, who issued all eleven pieces in 1823. This edition is titled “Trifles for the Piano Forte, consisting of eleven pleasing pieces composed in various styles.” 

Essentially, in Beethoven’s Op. 119, we are dealing with two different collections combining old and new works. The set builds on five miniatures, which Beethoven composed in 1820 for the third and final volume of Friedrich Starke’s Wiener Piano-Forte-Schule (Viennese School of Piano Playing). Eventually, these 5 bagatelles became Nos 7-11 of Op. 119. Nos 1-5 had already been completed, or possibly sketched, much earlier and dated from around 1800. The central bagatelle in this set was the last to be composed, probably in late 1822, shortly before publication.

In the 1820s, Beethoven’s Leipzig publisher Carl Friedrich Peters was initially interested in publishing the first bagatelles but later emphatically rejected them as he wrote to Beethoven, “I’ve had them played by several people, and not one of them will believe me that they are by you. I asked for “Kleinigkeiten,” but these are really too small… I will say no more about it, other than that I will never print these but will rather lose the fee I have already paid.” And he added, “the pieces are not worth the money, and you should consider it beneath your dignity to waste time with such trivia that anyone can write.”

However, in Beethoven’s mind these miniatures were by no means inferior to his more extended piano works but “were simply ideas that were complete in themselves.” He actually enjoyed writing these little pieces, and he highly valued his “trifles.” Imogen Cooper writes, “Op. 119 form a compendium of technique and piano texture in concise form, as is appropriate for a piano tutor.” We may add, however, that Beethoven may not have always had the amateur performer in mind, given the technical challenges written into some of these “Kleinigkeiten.”

No. 1 presents a rather nostalgic opening, while a busy No. 2 unfolds with triplets surrounding the theme in the right hand. Written in the style of an Allemande, No. 3 promises a point of reflection, but it is interrupted by the opening waltz. A lyrical No. 4 is juxtaposed by an almost pompous No. 5, and No. 6 is the most varied and developed. Trills dominate No. 7, while a tranquil No. 8 features some intriguing harmonic progressions.

No. 9 unfolds in the character of a Ländler and features heavily accented syncopation. No. 10 is noteworthy because of its extreme brevity. Lasting only a few seconds and fitting into a single system of printed music, it is Beethoven’s shortest work, perhaps one of the shortest works of any composer of note. Finally, No. 11 rounds off the set in a mood of graceful contemplation.

Bagatelles Op. 126

Beethoven’s Bagatelle Op. 126

When Beethoven offered the Bagatelles Op. 126 to the publishers Schott & Co. in November 1824, he described them as “6 Bagatelles or Trifles for solo piano, some of which are rather more developed and probably the best pieces of this kind I have written.” Contrary to his earlier Bagatelle settings, Op. 126 was conceived as an integral group of pieces which Beethoven labelled a “cycle of little pieces.”

Designed as a unified cycle from the outset, the Bagatelles are alternately lyrical and introspective, and fast and dramatic, “with the two threads drawn together in the final number; and their keys form a descending chain of thirds, beginning in G major and minor, and ending in E flat major.” And let us not forget that Op. 126 was Beethoven’s last work for the piano offering a concentration of musical thoughts typical of his late style.

As Paul Lewis writes, “Typical of that style is a native fluency in contrapuntal writing paired with freedom from formal constraints in applying it, along with a willingness to write his contrapuntal voices several octaves apart. Beethoven, the architect of massive, great formal structures, shows himself in these pieces as a master of the miniature, deftly creating an immediate impression with his opening gestures and developing his motives with unfettered originality.”

Beethoven treats his material with a great deal of freedom, transforming it through intricate ornamentation as in No. 1. Full of driving energy, No. 2 channels the music into playful directions while the noble simplicity of No. 3 is sustained through many changes in texture. The contrapuntal opening of No. 4 is contrasted by a dream-like section, with plenty of unexpected harmonic and mood changes.

The quietly expressive No. 5 creates a gentle flow with triplet patterns and subtle syncopations, while No. 6 starts and ends with an energetic, turbulent section, framing a central, more composed segment that begins like a barcarolle. The opening Presto dismisses the slower section and the piece ends abruptly. As a commentator wrote, it ends “almost if dismissing the introspective nature of the preceding music; a fitting way for Beethoven to conclude his piano compositions.”

In terms of compositional style, the Bagatelles are comparable to the late string quartets, particularly with the second movement of Op. 132. And to be sure, the relationship between the late bagatelles and Beethoven’s late period works has been the subject of various studies. It uses the same musical language but “offers a musical universe in just a couple of minutes.”

Stylistically, the late Bagatelles looked forward to the foundations of romanticism as the expression of personal emotions became increasingly important. To some observers, Beethoven’s late Bagatelles are the first character pieces, a genre that gained unprecedented prominence later in the century. As Maurice Hinson suggests, “Beethoven’s Op. 126 are, if anything in music can be, self-portraits, as they express his moods and frame of mind the day he composed them.”

As you might have expected, we can’t really talk about Beethoven Bagatelles without mentioning the Bagatelle in A minor, WoO 59. One of the most popular short pieces by the composer, this Bagatelle goes by the nickname “Für Elise.” Probably composed around 1810, it was reworked in the early 1820s. It was first published only in 1867, four decades after the composer’s death, in an appendix to a collection of Beethoven letters and hitherto unknown works.

The inscription “Für Elise” remains a mystery, and various theories suggest young women in or around Beethoven’s circle. The distinctive theme with the repeated neighbour-note is supported by arpeggiated chords shared between the hands. As a scholar reports, in some of the sketches from the early 1820s, Beethoven contemplated “a somewhat more sophisticated layout of the arpeggios, but these did not find their way into a definite version of the work.”

The Beethoven Bagatelles offer a diverse and evolving body of work, displaying the composer’s creative exploration in this genre of short and expressive piano pieces. They evolved from playful themes and structure to pieces of greater sophistication by blending dense harmonic landscapes with sudden shifts in mood, texture, and rhythm.