e208 La Fol «Previous / Next» ‘A.Lookat Beethoven's 32 Variation in © Minar (Pat) | La Fla About La Folia's Contributors — Contact & Copyright Articles by Date Random Article Tag Cloud Fallow A Look at Beethoven’s 32 Variations in C Minor (Part ID ‘Beth Levin [uty 2002) ‘Thema / Allegretto ‘The cight-measure theme isin 3/s time, strong in meter, in spine, in sound — chords and melody walk chromatially away from C minor, each a climactic forzando on V (F minor, then quickly run home again “This is our bass from which everything will evolve. Let's move on. Variation 1 Scale notes of the statement transform to arpeggios and repeated notes in 16ths ~ "ight, lightly,” Beethoven tells us — who are we to question? Harmonic form identical, gfon F intact, but resolve has sgiven way to raindrops sweetness prevails. Variation 11 Still leggiermente, the bass steals the treble's pattern verbatim, Tis Variation T tured exaetly on its head. ‘Variation 111 Beethoven, not ready to relinguish a good idea, combines I with II — arpeggios abound in both hands at ‘once! The strength oft ists beauty — form intact, meter intact, C minor reigning, Variation 1V. ‘A departure — simple outer voives trace the theme as an inner voice dances in triplets; staccato adds delicacy. This variation truly flats. Orchestration comes to mind, of winds and strings — the piano must ‘work some magic, Variation V atpsvvaflia cont ook at-boethoene-32veralon-n-c-miner-part “4782015 ‘A.Lookat Beethoven's 32 Variation in © Minar (Pat) | La Fla How to describe it? The harmonies of the bass — Cm, G, C7, F, D7, Bb Cm (for those who must label and analyze) — are presented simply at fist, but slurred octaves in the melody take over, erecendo, overlay ‘one another in a strett effect right before resolving to C minor. Each variation builds in tension to the -forzando at ¥ minor, then tumbles to C minor — release of tension. So Beethoven uses sound to create 8 physical and emotional event. Variation VI ‘The markings and sf on every inital impulse tell the story. We sense a martial atmosphere of bombast and rhythmie diseipne. The graceful triplets of Variation IV no longer dance — they march, mark time and protest. Variation VII In utter contrast tothe one before, Variation VIT is calm, a melody of descencing scale notes under legato slurs — could be the long bow ofa violin against a rumbling base of eellos — smooth, velvet, never harsh, never hurried, Variation VIII ‘seems to emerge organically from VIT — bass so similar, trcle climbing and falling in thirds (a menging of ‘both voices) but with the theme stil transparent. One aspect ofthe original theme ists powerful fist beat Jeading to an inevitable reaction by the treble. This is honored throughout the work, 1 pause to marvel Beethoven has kept within a strict eight-measure form, the same basic progression of chords always in 3/4 time. So much from s0 litle — poetry. Seales, arpeggios, staccato, legato — how ean such simplicity move uss? I am reminded that he composed the second movement of his Seventh Symphony from a single note — & sale sa mountain of motive in that context. Variation 1X, Con espressione. Groups of ix notes in the middle voice, dupes at the bottom, on top only two slurred notes, a simple sigh, ‘over and over gaining in passion and reinforcing the now-familar theme. Variation x, A strong running bass in gand notes (Hanon could have written them but here they seem to rail in unresD, Sempre forte our cue, this is not a gentle variation but another ratling cage. Variation XI Again he plays with inversion — ist a game, a childs puzzle? The bass of Variation X becomes melody, a pure upside-down cake — stil forte, stil relentless, stil fer. Variation X11 Maggiore. ‘Three fats of C minor are wiped from the score — piano semplice are the blueprints of expression given usby the composer: “Do as I say!” Bight measures of respite ensue, a lovely retelling of the theme now in ‘C major, without angst, as in a monk's garden. ‘Variation XII ‘Two treble clef bring the bass closer to the treble and continue a naive character, the tebe spinning slowly in 16ths, the lef hand outlining the theme, Again, the absence of minor opens a path toa more pastoral interpretation. ‘Variation XIV ‘Staccato thirds enrich the plainer writing of Variation XIIL. The addition of thirds and the viaity of staccato create a wholly different character, litle like taking the same five letters and forming (wo different words. The simplicity ofthe foreronner morphs into & playful, teasing sibling of itself. One senses Beethoven's delight in limitless variety, in the music, in himself. Variation XV ‘Continuing in C major and with the directions dolce, erescendo and risoluto, Beethoven writes & ‘melody and bassin triplets, three sets to measure, seeming to expand the theme, drav it out and alter it again. He createsa new and sublime character, 2 thing so different from the original statement but stil wrought from its bones. atpsvvaflia cont ook at-boethoene-32veralon-n-c-miner-part 24782015 pihelbert Nevin Disagreeable Remarks Bore me and ITlaoon dream of May 24,2015 ‘alt Mndoveshy Paul Bley’s singular Ballads Reissues in Japan often exhibit a shoot ie, This infest aura the Japanese marke, and wil, ow appear there (br Aprile, 20: ‘A.Lookat Beethoven's 32 Variation in © Minar (Pat) | La Fla ‘Variation XVI ‘The final variation in C major — x6ths against triplets, the first note ofthe bass lending to the melody. One ‘hand cues the other asin the opening statement. Even in the hectic motion created by octaves in 16th the notes ofthe theme can be heard, Reinforcing the theme becomes obsulete at this pint; other aspects of the variation can be brought forward without fear of losing the listener's thread to the theme, is here that I wil pause before Besthoven resumes in C minor. A Look at Beethoven's 32 Variations In C Minor (Part 11) [More Beth Levin} S (Wisparrangemeats, Grant Chu Mike Siverton Covell Plan Factory Decea Sound: The Mono Ethelbert Nevin, Used in Trl (Dis)Arrangements 6. / ‘Years 1944-1956 Tweets Piano Factory 14. Universal hasbeen issuing Used Bin Troll Tweets L. sci and Sealattion piano are handsomely boxed, abundantly intrinseallyazrangements, mus Gorgeous sound and stupendous annotated bargain priced Bris reboctled tan ierumen! Decea'sThe Mono Years/ro44— _-Puving Dshinswadry programof — nntcipated by their 11956, the latest arrival, is, for me 7 ’ ymposers. Some 19th and 20th- the mort evoeat May 3,2015 ‘century composer-piansts found Bach and Searat too spindly for the ivories They added notes ad Aeshed out chords, and took other liberties suchas composing new voles oF adjusting seeea harmon ‘a = Symphonies FA Bucket, Grant Chu Covell Mostly Symphonies 27. eeumniney ‘impatience with Mabler’s Firs, Thebes ea defies explanation bomever, his release Bucks te and labeling. We ind ourselves in trend doubly. First, this 200.41 Aworléwheve the familar takes” performance is bright and : 5 on varying expressions fenergetie, Second, perhaps Four Gonturies Apart, Walt Decabsethisiea Hungarian effort Mundkowsky Mared 13,2015 and the symphony'sfve= mmovemen inearationoriginaly ‘For Centuries Apart 4. remored in Budapest, Roce Get thie dis by Josie andthe estoresthe Blimine movement. Emeralds, sn enterprising arch 28,2035 Soprano and quartet of violin March 23,2015 ‘Australia forthe two-thirds that’s February 27,2015 atpsvvaflia cont ook at-boethoene-32veralon-n-c-miner-part a4782015 ‘A.Lookat Beethoven's 32 Variations in C Minar (Part) | La Folia Dan Albertson eee Ethelbert Nevin, Used Bin Troll Pierre Boulez fescss Pierre Boule, the mafte, wil ea EanTias cme turn 90 next month, This ‘Alas they don't make them like fccasion engenders poemanda _thisauymore! briefucknowledgment of conflicted thoughts February 14,2015 Ketkolie Gy998.0:5 Allright reserved. Contributors hold the copyright to their work We think you might also like... The Arto Preach Song wo FCM Beauties: Shostakovich States: Acoustic Revives RR- = Three Collections Holliger and Lachenmann “Masters are paying 888 Schumann Resonance Generator atpsvvaflia cont ook at-boethoene-32veralon-n-c-miner-part as