32 Variations on an Original Theme in C minor, WoO 80 (German: 32 Variationen über ein eigenes Thema), is a composition for solo piano by Ludwig van Beethoven, written in 1806.
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Ludwig van Beethoven-9 Variations in Cm on a march by Ernst Dressler,WoO 63
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BEETHOVEN - 32 Variations in C Minor
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Beethoven, 32 Variations in C minor WoO 80 played by Denis Matthews
Transcription
Analysis
The work consists of an eight-bar main theme and 32 variations. A chord progression in the left hand, based upon a descending chromatic bass, serves as an important structural device. The short and sparse melodic theme, as well as the emphasis on the bass line, reflect a possible influence of the chaconne[citation needed] and the Folia.[1] The variations have been called "Beethoven’s most overt pianistic homage to the Baroque."[2] The variations differ in character, technical difficulty and dynamics. Pianist Yue Chu points out that the key of C minor indicates that "Beethoven was serious when composing this work," despite his apparent misgivings later.[3]
Variations
| Variation/s | Description |
|---|---|
| I to III | Consists of arpeggios and repeating notes. The only difference among these three variations is which hands play the arpeggios; in Var. I, the right hand does so, Var. II, the left hand, and Var. III, both hands. |
| IV | A variation looking into precision of staccato, and the descending bass line is quite prominent. |
| V | A quiet variation looking at the contrast between staccato and legato. |
| VI | A turbulent variation marked fortissimo as well as "sempre staccato e sforzato." The sforzatos are indicated in the music. |
| VII and VIII | Are markedly quieter variations than Var. VI but musically are more difficult. |
| IX | A variation with many slurs. |
| X and XI | Marked "sempre forte" with an inversion of the main theme, with the only difference between them being that Var. X's thirty-second notes are played with the left hand, and Var. XI's thirty-second notes with the right hand. |
| XII to XVI | Marked Maggiore (Italian for "major") and are thus emotionally different from the other variations. These variations are in C major. Var. XII is marked "semplice", so it should not be overplayed, while XIII is even quieter. Var. XIV has staccato thirds, and XV and XVI contain numerous, albeit slow, octaves. |
| XVII | Marks the return of the minor and is marked "dolce", implying that it should be played more quietly. |
| XVIII | Offers a stark contrast to Var. XVII, with very rapid right hand scales. |
| XIX | A variation with arpeggios in the form of sixteenth triplets, as in the Waldstein Sonata. |
| XX and XXI | Are technically difficult variations with scales. |
| XXII | Noted for its tenutos and sforzatos. |
| XXIII | Offers a contrast to Var. XXII and thus is marked pianissimo. It consists of detached chords. |
| XXIV and XXV | Are light (thus quiet) variations emphasizing staccato and leggiermente, respectively. |
| XXVI and XXVII | Are technically difficult and consist of thirds. |
| XXVIII | A stark contrast to XXVII, as it is marked semplice. |
| XXIX | Consists of difficult arpeggios in the form of sixteenth note triplets. |
| XXX | A contrast to XXIX and is quite slow. |
| XXXI | Even quieter than XXX and technically simple, consisting of left hand arpeggios, and the theme is repeated in the right hand in its original form. |
| XXXII | The last variation, a technically difficult and fast passage. Its main theme consists of left hand 32nd notes and the right hand playing two sevenths, and a group of eight 32nd notes. |
Typically, performances of this piece last from 10 to 12 minutes.
Reception
The piece proved popular, receiving a favorable review in the Allgemeine musikalische Zeitung (Leipzig) in 1807,[citation needed] and remains popular today.[citation needed] Nevertheless, Beethoven did not see fit to assign it an opus number. It is said that later in his life he heard a friend practicing it. After listening for some time he said "Whose is that?" "Yours", was the answer. "Mine? That piece of folly mine?" was his retort; "Oh, Beethoven, what an ass you were in those days!"[4]
See also
References
- ^ Solomon, Maynard (1999). "Beethoven's Diabelli Variations". Beethoven Forum. University of Nebraska Press. 7: 145.
- ^ Hyperion, 32 Variations on an original theme in C minor, WoO80
- ^ Classical Connect, 32 Variations in C minor
- ^ Thayer, Alexander (1967). Elliot Forbes (ed.). Life of Beethoven. Vol. II. Princeton University Press. p. 324.
External links
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This page was last edited on 9 July 2023, at 01:56