Album insights
At the end of his life, Beethoven didn't recognize the 32 Variations on an original theme in C minor, WoO80, when he heard it being played by an acquaintance. He even remarked that he must have been a donkey to write such nonsense when he was told it was his own work. The late string quartet composer seemed vastly different from the creator of these variations, which were composed in 1806 along with the Fourth Symphony and the Violin Concerto in D major.
Nevertheless, it's an exceptional piece, suitable for both practice and performance. The Baroque influence is evident in the descending chords in the left hand, French dotted rhythms in the right hand, upward figures, and downward octave gestures. However, it's the rhythm and characteristics of the Chaconne that make the theme so captivating primarily.
In this work, Beethoven constructs a fabulous overall structure. The first three variations feature arpeggios and tone repetitions, initially in the right hand, then left, and eventually together in both hands. Notably marked as "leggiermente" ("light"), these passages sound different on a fortepiano, like the one Beethoven played, compared to a modern concert grand piano. Playing the tone repetitions with the same finger each time is crucial—not changing fingers would sound too busy.
The fourth variation (1'11) is distinctly orchestral in nature, with outer voices moving together and the middle voice (the second violins in a sense) playing triplets. Variation 5 introduces more expressiveness, with a bound three-note motif becoming increasingly dominant in the second half of the measure. The sixth variation starts with four thundering chords where Beethoven's intensity is most pronounced.
Proceeding in pairs, the seventh and eighth variations feature similar left-hand patterns. Variation 7 (2'02) presents sighing figures in the right hand alongside descending scale passages in octaves. The momentum heightens in Variation 8, appearing fiercer. Interestingly, there are no dynamics indicated in this variation by Beethoven. While additional notes make it louder than the previous one, it shouldn’t be hammered out. Much drama lies ahead.
Variation 9 (2'45) emerges beautifully subdued, with occasional sighs in the top voice. However, this tranquility doesn't last long. Variations 10 and 11 form a brilliant duo with interchangeable elements—runs and piercing octaves. Undoubtedly, a great exercise!
A long run in the right hand leads seamlessly into the wondrous 12th Variation (3'50)—the first in major mode. The resemblance of this variation to a Sarabande is striking (even the Chaconne shares the emphasis on the second beat like this noble dance). "Semplice" ("simple"), writes Beethoven. This mood extends into the 13th Variation where the upper voice (muted violins) contrasts with the darker melody in the left hand. Its sibling variation, No. 14, adds more color by lowering the doubled tune by an octave and introduces movement in thirds for the right hand, making the final descending scale with 4/2 on each third enjoyable.
The subsequent pair reminds one of Schubert—a lyrical melody above a triplet bass. In the second of these variations, the right hand becomes more animated. Variation 17 (5'48) shifts back to minor: a beautiful contrapuntal duet takes center stage. Variation 18 introduces energetic, soaring scale passages which continue through the next four variations, emphasizing their messages with angry triplets, syncopated chords, and canonical octaves.
Variation 23 (7'35) focuses solely on harmonic expression—a pulsating bass accompanies somber tremolo chords in the right hand. Following two variations demanding light yet energetic performances are a resolute and robust pair featuring double thirds. Each variation in this work must possess individual character while dovetailing seamlessly into a cohesive whole.
Variation 28 (9'03) unfolds as a lengthy, calmly played phrase. The contrast with the subsequent variation couldn't be greater: a sudden outbreak of triplets ensues as the hands move in opposite directions, reminiscent of the third variation, although a significant journey has since taken place! Variation 30 marks a mysterious moment of calm, segueing seamlessly into the section that can be termed as a Coda. In Variation 31, the theme returns in its original form, played by the right hand muffled and in octaves, complemented by a rumbling bass accompaniment. The 32nd Variation (10'55) eventually erupts—the music gradually crescendos to a fortissimo climax as the right hand plays a swirling figure. Towards the end, tension builds—after a pianissimo passage where the left hand sets the rhythm (imitated by the right), suspense peaks leading to a song-like passage. Beethoven could have ended this piece with brilliant virtuosity, yet he opted for a simple cadence to be played softly, as if to say, "Here is how I have reworked this theme!"
I learned the 6 Variations on an Original Theme in F major, Op. 34, when I was fifteen, and have since greatly admired them. Alongside his variations Op. 35, they are among the first pieces composed in Heiligenstadt (where Beethoven traveled in hopes of alleviating his worsening deafness, but found his despair escalating). He was particularly enthusiastic about his new compositions, writing to his publisher, “I hear it only from others when I have new ideas, because I myself never know, but this time I must assure them that the manner in both works is entirely new and original from me.”
And indeed it is. Following a melodious Adagio theme in F major, the first variation in D major comes as a shock. A florid arabesque in the right hand is accompanied by constant chords in the left—almost operatic in character. The second variation transitions to B major, evoking a clearly perceived hunting scene. Descending in circling thirds lands us in G major, leading into a gentle Allegretto with lengthy phrases. Next is the whimsical fourth variation in E-flat major, marked "Tempo di Menuetto"—graceful, yet intense. However, the pinnacle of the work is the ensuing variation, a funeral march in C minor (prefiguring the "Eroica Symphony"). Nothing could be further from the mood of the original theme. A brief transition ushers in the final passage (I recall my father always expecting Mendelssohn's "Wedding March" at this point when I was learning the piece!).
The sixth and final variation is structured in three parts (though Beethoven counted eight variations in this work): the actual variation (a rustic dance), a Coda that progresses similarly but culminates in a cadenza-like figure, and the return of the opening theme, now slower (Adagio molto), highly embellished, reaching the entire (then) keyboard. A proper cadenza leads to the concluding bars, bidding us a heartfelt farewell.
Beethoven's student Carl Czerny described this work as "excellent," requiring a performance that is both skillful and emotionally charged. It certainly deserves greater recognition.
The theme of the 15 Variations with a Fugue, Op. 35, is well-known—it is the theme from the finale of the "Eroica Symphony." Beethoven had previously used it in his youth in the first of a collection of country dances and later in the finale of his ballet music for "The Creatures of Prometheus."
The "Eroica" Variations represent Beethoven's most bravura-oriented set of variations. The piece opens with a singular, massive E-flat major chord demanding attention. Beethoven then introduces the theme with only the bass (as he does in the symphony), which almost takes on a life of its own. Three variations follow over the bass, with each adding an additional voice. Only after this do we hear the "true" theme, instantly evoking its dance-like origins. The ensuing 15 variations abound with captivating compositional and pianistic techniques. Hand crossings and jumps are plentiful, and the overall mood—until the mysterious 14th variation in minor (13'16)—resembles a joyful carnival. As the critic and musicologist Michael Steinberg once said to me, "This is Beethoven on a spring holiday!"
The 15th Variation (14'45) emerges as a richly ornamented slow movement transitioning into an energetic and highly challenging fugue. Titled "Andante con moto," the Coda reintroduces the theme in its most recognizable form to date. The piece concludes by gradually condensing the first four notes of the theme into smaller note values. One can easily imagine the enjoyment Beethoven must have experienced while playing this piece.
Giovanni Paisiello (1740–1816) was the most successful opera composer of his era. Celebrated by Catherine the Great in Russia, invited by Napoleon to Paris, and commissioned by Ferdinand IV for operas performed exclusively in Naples, Paisiello was highly esteemed by Mozart (who also wrote variations on Paisiello's "Salve tu, Domine"). In 1795, he made a significant impact in Vienna when his opera "La molinara" ("The Miller Woman") was staged in Italian for the first time. A German version followed five years later and remained in performance in German-speaking countries for 32 consecutive years.
Beethoven composed two variation cycles on themes from "La molinara" in 1795. The 9 Variations on the aria "Quant’è più bello," WoO69, are dedicated to his first sponsor in Vienna, Karl von Lichnowsky.