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 opened up so many new spaces, as did the final sets of Bagatelles, which are 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.