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Theme and Variations is a ballet choreographed by George Balanchine to the final movement of Tchaikovsky's Orchestral Suite No. 3. The ballet was made for Ballet Theatre (now American Ballet Theatre ), and premiered on November 26, 1947, at the City Center 55 Street Theater , with the two leads danced by Alicia Alonso and Igor Youskevitch .
The Four Temperaments or Theme and Four Variations (The Four Temperaments) [1] [2] is an orchestral work and ballet by Paul Hindemith. Although it was originally conceived as a ballet for Léonide Massine , [ 1 ] the score was ultimately completed as a commission for George Balanchine , who subsequently choreographed it as a neoclassical ballet ...
Anton Arensky's Variations on a Theme by Tchaikovsky (1894) is among his most popular compositions. Variation sets have also been composed by notable twentieth-century composers, including Sergei Rachmaninoff (Rhapsody on a Theme of Paganini for piano and orchestra, and his variations for solo piano on themes by Chopin and Corelli),
Variations on a theme by another composer. These are usually written as discrete sets of variations. There are hundreds of examples, including: Ludwig van Beethoven's Diabelli Variations [citation needed] Johannes Brahms's Variations on a Theme by Haydn (which theme was probably not written by Haydn at all) [citation needed]
Thematic transformation (also known as thematic metamorphosis or thematic development) is a musical technique in which a leitmotif, or theme, is developed by changing the theme by using permutation (transposition or modulation, inversion, and retrograde), augmentation, diminution, and fragmentation.
Variations on a Theme by Haydn; Variations and Fugue on a Theme by Hiller; Variations and Fugue on a Theme by Mozart; Introduction and Variations on a Theme by Mozart (Sor) Variations and Fugue on a Theme of Purcell, subtitled The Young Person's Guide to the Orchestra; Variations, Interlude and Finale on a Theme by Rameau; Variations on a Theme ...
Wolfgang Amadeus Mozart: 6 Variations in F major on "Salve tu, Domine" from I filosofi immaginarii, K. 398 (piano) Niccolò Paganini: Introduction, Theme and Variations from Paisiello's La bella molinara ("Nel cor più non mi sento") in G major, Op. 38
The Variations retain most of Paganini's original material for solo violin. [1] As Paganini's original composition, it is structured as a theme with variations, presenting the theme, a total of twelve variations, and a final coda. The additional twelfth variation before the coda is Lutosławski's only structural alteration in the piece.