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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. Analysis [ edit ]
The variations did not merely vary the theme, they transformed it or played with its fundamentals, as seen in some variations in the Diabelli Variations. [54] Paradoxically, this emphasis on the fundamentals on a theme resulted in both a progressive simplification of Beethoven's conception of the theme as the variations go on, even if the ...
The Variations and Fugue for Piano in E ♭ major, Op. 35 are a set of fifteen variations (plus three "bonus" variations) for solo piano composed by Ludwig van Beethoven in 1802. They are commonly referred to as the Eroica Variations because a different set of variations on the opening bass line section were used as the finale of his Symphony ...
The Variations in E-flat major piano trio, Op. 44, by Ludwig van Beethoven, is a series of fourteen variations on a theme, written for piano, violin and cello. Although this may be one of Beethoven's early works (written circa 1792, i.e., at around age 22) it was assigned its opus number when it was published by Hoffmeister in Leipzig, more than a decade after Beethoven began writing it.
While Beethoven's first variation stays close to the melody of Diabelli's theme, there is nothing waltz-like about it. It is a strong, heavily accented march in 4 4 time, greatly differing from the character and 3 4 time of the theme. This sharp break from Diabelli announces that the series will not consist of mere decorative variations on a theme.
Beethoven contributed a mighty set of 33 variations on this theme. The thirteenth of these stands out in its seemingly wilful eccentricity and determination to reduce the given material to its bare bones: Beethoven, Diabelli Variation No. 13 Beethoven, Diabelli Variation No. 13. Wilfrid Mellers describes this variation as "comically disruptive...
The movement consists of a theme by Beethoven and five variations. The third variation has been called a "pre-echo" of the funeral march movement by Andras Schiff during his lecture on the sonata. [3] This movement is also unusual in the sense that it is not in sonata form but rather a set of variations on a theme.
Variations on the theme are then played by gradually increasing contingents of instruments: a solo flute, two oboes, a trio of two clarinets and bassoon, and string quartet. A full orchestral version of the theme played at a forte dynamic leads to the re-entry of the piano and to what seems at first like a postlude to this variation set, but ...