The musical and expressive concentration of Beethoven’s Bagatelles – involving sudden and violent changes of mood – highlights the composer’s developing keyboard style and remarkable compositional evolution. Kovacevich’s performances (recorded in 1975) have enjoyed a long catalogue life that is fully justified by their strong sense of progression and arresting vividness. In this new release, John O’Conor (who also includes the Allegretto in C and the Presto in C minor) applies his customary poetic playing style to these pieces, giving generally more relaxed readings than Kovacevich. Sometimes, for example in the Op. 33 collection, this can result in performances that sound over-civilized, detracting from the young Beethoven’s bold impudence; most notably in the striking contrasts of Nos. 2, 5 and 7. And, even in more lyrical pieces – such as the fourth from the set – his phrasing sounds too carefully shaped, lacking Kovacevich’s lively spontaneity and flair.
Although the Op. 119 Bagatelles come from the same classical well-springs as Op. 33, they have a greater seriousness that better suits O’Conor’s subtler characterization. Contrast his cooler reserve in the fifth piece (admittedly marked Risoluto) with Kovacevich’s startling vehemence. Especially enchanting, too, are the delicately graceful “L’allemende” (No. 3) and the beautifully floated, haunting waltz (No. 9). Beethoven conceived the Op. 126 Bagatelles as an integrated cycle, evoking meditative moods rather than extrovert drama. It is surprising, therefore, that O’Conor favours a faster tempo in the nobly serene first piece, lacking the breadth of Kovacevich’s version. Generally, though, O’Conor convincingly captures the calmer spirit in these pieces; particularly so, in the dreamy atmosphere he conjures in the B major section of the fourth Bagatelle.'