Celebrating the Variation

[Sir Velo]

Beethoven, qt. Op. 131. 4th. Movement. 6 variations & a coda.

I Know of nothing to equal this.

Beethoven Op 120?

Beethoven Op 111 (2nd movement)? I think it was Brendel who said this movement distilled the mysticism of experience (or should that be experience of mysticism) better than any other piece of piano literature.

It's clear, to answer another poster, that a memorable or profound theme is not essential for producing a great set of variations (cf Goldberg and Diabelli). In fact, maybe the more banal the better.

[Stanfordian]

As someone who is particularly fond of the variation form, I was wondering which examples of it appealed to others here. The composer who seems to have been most attracted to it was Haydn, who uses variations extensively in his symphonies and string quartets and memorably in the keyboard Variations in F minor. Yet although there have been wonderful variations, and variation movements, in orchestral and chamber works, it is the keyboard that seems to bring out the best in the form: not just the twin peaks of the Goldberg and Diabelli but in many other examples.

It seems imv not to be the big theme that results in the most interesting variations; I don't think Haydn's Emperor-variations in op 76 no 3 or Brahms' Variations on a Theme by Haydn to be as impressive as those composers' other variation movements/works with humbler themes. The themes for the Goldberg and Diabelli variations are not that memorable, nor to my mind the La Folia theme that proved so tempting to later composers, nor the "Harmonious Blacksmith" that Handel (and later Brahms) enriched with their variations.

Hiya aeolium,

Yes, this is an most interesting if frustrating subject for me as for some reason I have never warmed to the variation form in general. For example I struggle to enjoy the Brahms Variations on a Theme by Haydn and the Franck Symphonic Variations; both highly regarded scores of the genre.

[gamba]

Lucky you, salymap. He would have made a superb performance of it. I would be interested to know if the performances varied much, I would have thought not.

I am reminded of you every time I have a go at the Bach Suites. Mainly because of my very well - worn Augener/Galliard edition. You have mentioned being involved with them long ago & having encountered Tortelier.
I have only ever met one fairly well - known 'cellist, Ralph Kirschbaum. He's near the top of my list of the Bach Suites recordings. I was once introduced to him by my principal cellist friend in the BBC Scottish Sym. Orch., in their rehearsal studio in Glasgow. I'm afraid I was more interested in his 'cello than him, a Montagnana. ( He let me touch it ! )
As he said to me, " Stradivarius, Queen of cellos - Montagnana, King ! ).

That's all for now. Do hope your health problems are on the mend, all possible good wishes. gamba

[Nick Armstrong]

So good to have saly and gamba in on discussions !!

As for Variations, one set not mentioned contains some spine-shiveringly good music I think - Rachmaninov's relatively little-known Variations on a Theme of Chopin - especially in this recording by Yevgeny Sudbin

http://www.amazon.co.uk/dp/B000B63R8A/ref=dm_rogue_cd

One of my favourite and most-often played piano music discs.

[gmw]

Well I do love the finale from Brahms Op. 115