AMusLCM Summer 2015 - Question 2e

Explore Beethovens approaches to Variation form in the Variations

for Piano, op. 34.

In musical terms, a variation is a form where a theme is first heard in its simplicity and is
subsequently repeated in different ways. The variation of the original theme may include
changes in rhythm, harmony or melodic shape by means of melodic decorations and
additional notes. The theme is repeated several times with varied treatment.

The Six Variations on an Original Theme in F Major are extremely innovative, in that the
theme was an original (not borrowed from a foreign composition), its written improvisatory
style, variation technique and different keys for each variation. Dedicated to one of his
most prized students Barbara Odescalchi, these variations were given a unique opus
number. This shows how important Beethoven considered them to be. The theme exhibits
ABA structure, although the central contrasting melody is only 6 bars long. Classical
influence is also observed in the delicate cantabile performance direction, indicative of a
Mozartian composition.

Beethoven brings contrast to the work, as the peaceful atmosphere is interrupted at the
beginning of the first variation, characterised by many running passages and ornaments.
The simple, serene feel of the theme is replaced by a lighter, agitated mood in D Major.
(Variation I). The following variation is in B flat Major, and is signalled by a change in
tempo to 6/8. Furthermore, the theme is divided, placed partly in the lower register and
partly at a much higher pitch. Nearly static, broad, chordal harmony enhances the idea of
distinct and contrasting elements. Beethoven disguises the theme entirely in Variation III
by burying it in an assortment of quavers, again distancing himself from traditional
variation form.

The following variations are respectively in E Flat Major (Variation IV) and the relative
minor, C Minor (Variation V). Thus, the composer completes the descent of keys in 3rds (F
to D to B flat to G to E flat to C), modulating to C Major towards the end of Variation V,
being the dominant chord which leads to the final variation in the home key. The coda
presents the original slow tempo, completing the full circle which Beethoven displays in
these variations. The variations start and end in the same way, with the Adagio theme in F
Major. The composer displays his virtuosity and technique, as well as the blending with
zest of Classical and early Romantic idioms, evocative of his writing.