Variations WoO 80
The 32 variations on their own theme in C minor, WoO 80, are a variation work for piano composed in 1806 by Ludwig van Beethoven . It was first printed in Vienna in 1807 by the Bureau d'Arts et d'Industrie publishing house.
analysis
The work consists of an eight-bar theme in three-four time with the tempo designation Allegretto and the following 32 variations, which differ in character, dynamics and technical difficulty. The short, simple theme and the importance of the bass line suggests a possible influence of the chaconne . Johannes Brahms , who himself performed this work in public, could have used it as a model for the finale of his Fourth Symphony , which is designed as a Chaconne. The average performance time is about 11 minutes.
theme
The theme is formed by a chromatically descending bass line, which serves as the structural basis for the variations. The sharply dotted melody in the left hand, on the other hand, has a diatonic ascending line that climaxes on the second beat of the sixth measure ( sforzato ) and then suddenly ends in a piano . This characteristic dynamic structure remains until the fourth variation as well as in variations VII, IX, XII, XIII, XIV and the like. a. receive.
Variations
- Var. I, II, III
The first three variations are characterized by broken chords in the corresponding harmonies of the theme, which are first carried out with the left hand (Var. I), then with the right hand (Var. II) and finally with both hands at the same time in countermovement (Var. III) are executed. The technical difficulty lies in the lightness ( piano leggiermente ) of the arpeggios and in the rapid succession of the same key (repetition).
- Var. IV, V, VI
The fourth variation consists of staccato - triplets in the inner part and an additional outer voice, while the bass line is identical to that of the subject. Variation V is a combination of staccato - arpeggio and Legato octaves, wherein the characteristic emphasis is retained on the second beat. The variation ends for the first time with a crescendo and thus leads to the sixth variation in fortissimo . This very stormy variation has a triplet structure and carries the indication semper staccato e sforzato .
- Var. VII, VIII, IX
The following two variations are again in piano and are characterized by a broken chord figure, which appears first in the left hand as an accompaniment (Var. VII) and then additionally in the right hand as a kind of extended arpeggio (Var. VIII). In the expressive ninth variation, the trill in the right hand, written out in sixteenth triplets, forms a counter-rhythm to the quartins accompaniment in the left hand. At the same time, the right hand has to perform the melody which is overwritten with espressivo and which imitates sighs with ascending semitones. For the first time, this variation moves a little further away from the theme thanks to free harmonics.
- Var. X, XI
The two furious variations X and XI form the first climax of the work. They are overwritten with semper forte and characterized by a rapid thirty-second figure, which in turn appears first in the left hand (Var. X) and then in the right hand (Var. XI). It is also characteristic by the sforzato highly exaggerated syncope between the first and second counting time every clock and the absence of the first blow. The syncopation typical of Beethoven takes place in Var. X over one, in var. XI even over two bars. The chord on the first beat in the last bar, which is followed by a scale falling over three octaves , and thus to Var. XII transferred.
- Var. XII, XIII, XIV, XV, XVI
These five variations are in C major ( maggiore ) and form a great contrast to the previous ones. You are back at the piano and have a lovely, dreamy character. The first three are closely linked by preludes. At first the theme sounds in a low register again almost in its basic form ( semplice ), which makes the measure of time appear calmer (Var. XII). Then it appears in the bass part while the left hand plays decorative figures (Var. XIII). In Var XIV the same game occurs in thirds. Variation XV ( dolce ) is again characterized by triplets, with the octaves in the right hand tied in syncopation. Variation XVI repeats this figure with sixteenths in the left hand, which again creates a somewhat more agitated "two-versus-three rhythm".
- Var. XVII, XVIII, XIX
The key is now C minor again, but the character initially remains dolce (Var. XVII). After this seventeenth variation, which is characterized by pronounced polyphony , in the forte there are rapidly ascending scales in the right hand, which are reminiscent of the ornamentation of the theme (Var. XVIII). From here on, the topic only appears as a harmonious framework and is no longer recognizable in and of itself. Variation XIX is a constant interplay between piano and forte with melody in the left hand, which is very excited by the triplet accompaniment in the right hand.
- Var. XX, XXI
These two variations are characterized by an overemphasized third beat ( sforzato ) and syncopated chords. The triplet runs are played one more time, first with the left, then with the right hand.
- Var. XXII, XXIII, XXIV
The figures, which have moved further and further away from the theme since Variation XVIII, finally end in an octave canon (Var. XXII) in the forte , followed by the simple harmonic basic form of the theme in pianissimo (Var. XXIII). The variations become more and more free and finally detach themselves almost completely from the theme. The XXIV. Variation is somewhat reminiscent of the figure of the first variation, only it is constructed in a triplet style and decorated with suggestions . This ease is in the XXV. Maintain variation ( leggiermente ) and further decorate the figure while keeping the original bass line simple.
- Var. XXVI, XXVII, XXVIII, XXIX
The XXVI. and XXVII. Variation contrasts strongly with the forte and the lively chord jumps with the following variation XXVIII. This contains a cantilena in piano with semplice . The same sound-quiet contrast is even more evident in the variations XXIX ( fortissimo ) and XXX ( pianissimo ).
- Var. XXXI, XXXII
Variation XXXI brings the theme back in its basic form for the first time, which in the previous variations only appeared very distantly as a harmonic basis. It is accompanied by an excited thirty-second accompaniment in the left hand and remains semper pianissimo . Only in the last bar does the increasingly excited mood slowly rise into a crescendo . In the last variation (XXXII) she finally reaches the fortissimo in virtuoso septoles runs in the right hand . Here the eight-bar variation is dissolved and a 43-bar, free final section follows. He begins with triplets of the right hand, which finally end in pianissimo again . Then the theme follows one last time with the strict structure of another variation. The resolution, however, is delayed for 9 bars. This is followed by a final large crescendo that oscillates between the tonic and the dominant and ends in a broken, diminished seventh chord in falling octaves in fortissimo . This exciting chord, typical of Beethoven, is resolved - like the theme - in the surprising piano .
See also
literature
- Holzfuß, Toni: The Art of Change: The 32 Variations for Piano, WoO 80 by Ludwig van Beethoven . Thesis. Grin-Verlag, Norderstedt 2008, ISBN 978-3-640-92396-0
- William Horne: Brahms's Variations on a Hungarian Song, op. 21, no. 2. “Then look at the Beethoven people and, if you want, mine”. In: Brahms Studies 3 (2001). University of Nebraska Press, pp. 112-121.
- Peter Petersen: The Variations Finale from Brahms' E minor Symphony and the C minor Chaconne by Beethoven (WoO 80) . In: Archiv für Musikwissenschaft 70, 2013, no. 2, pp. 105–118.
Individual evidence
Web links
- 32 Variations in C minor, WoO 80 : Notes in the International Music Score Library Project
- Evgeny Kissin (Beethoven 32 Variations in C minor, approx. 12 min., Live video)