Analysis of the 6 Variations by Beethoven

The Variations in F Major, Op. 34, were dedicated to Princess Barbara Odescalchi, one of
Beethoven's pupils and a very capable pianist. The set was begun in May, 1802, at about the
same time Beethoven started work on the Variations in E flat, Op. 35. Both sets of variations
were offered to Breitkopf & Hrtel in October 1802.

The Variations, Op. 34, were innovative in that each of the six variations is in a different key.
Beethoven directed his publisher to point out this novelty in the printed edition of the work.
Furthermore, the fact that he gave the work an opus number attests to Beethoven's belief in
the importance of the piece, in part because the theme was original. Overall, the set is an
excellent example of the "improvisatory" side of Beethoven's variation technique. However,
this characteristic of the piece does not necessarily indicate that variations are "written-out"
improvisations, as opposed to compositionally "worked-out" ideas.

Beethoven's theme exhibits the typical Classical-era rounded (ABA') structure, although the
central, contrasting melody is only six bars in length. The simple theme is in Beethoven's best
"singing" style, marked cantabile and with an overall arch; turns and trills add a light,
Mozartian delicacy to a relaxed atmosphere. Relaxation ceases at the beginning of the first
variation, in D major (distant from F major). Beethoven seems to fill spaces in the original
theme with as many notes as possible in this highly decorative variation. The central part of
the theme is extended before the return of the first theme. A change of tempo signals the
arrival of the second variation, set in B flat (much closer to F major) and 6/8 time. Beethoven
hacks the tune into pieces, placing one part in a low register and having the higher register.
Rapid movement is juxtaposed with nearly motionless chords as Beethoven, oddly, chooses
to repeat the "B" and "A'" segments of the theme as a unit. The constant eighth note motion
of the third variation thinly disguises the shape of the theme, now set in G major. A shift to E
flat major brings with it the fourth variation and its more easily recognizable rendition of the
theme, despite the triple meter. The central part of the theme appears simultaneously in
octaves in the right hand and in fragments in the left. The key (C minor) and march tempo of
the fifth variation look forward to the soon-to-be-composed second movement of the Third
Symphony. At the end of this variation Beethoven moves from C minor to C major, creating
the dominant of F major and preparing the way for the sixth and final variation.
Beethoven's coda returns to the original Adagio tempo, the virtuosic writing enhancing his
developmental presentation of the stepwise motion from the first two measures of the theme.
The last few measures feature a return of the theme. These variations portray an elegant style
filled with melodic decorations.