DAILY DOSE of BEETHOVEN (May 14,2020)
Beethoven: Early, Middle and Late - Part 2
Theme and Variations
In a theme and variations, the theme is stated plainly, in its entirety, and is usually repeated, so that the listener can have it clear in his or her mind the variations proceed, and thus be able to evaluate and appreciate the changes and innovations made by the composer. In a simple theme and variations, the theme is kept intact and complete, so that it can always be recognized amidst everything else being developed. Often, the bass line is also kept intact, so that harmonic foundation is also solid.
For a young composer, this provides what is sometimes known as “freedom/necessity”. A fledgling painter does not develop creativity by being given a blank canvas and told to paint whatever he feels like. No, he copies the great masters, in sketches at first. It is similar in music. The teacher challenges the student to develop his or her skills and technique. To use Forms that help you develop those skills, and your creativity. Without that level of rigor, what is the standard for creativity? It cannot be whatever you feel like doing!
Beethoven worked with the theme and variations form all of his life, and took it into undreamed-of dimensions.
Following a theme and variations is also a very good way for the listener to develop his or her ability to comprehend musical architecture, and the creative discoveries made within its formal limitations.
Today, we will provide the times of each variation. As we proceed, you should find yourselves both more and more capable of anticipating, and recognizing them, as well as being surprised by them.
1. Early: The second movement of Piano Sonata No. 10 in G major, Op. 14, No. 2, starts with a theme that has 2 parts which repeat. It is humorous for several reasons: one of which is that it does not resolve to the tonic "C", until near the end. You could compare it to a really long sentence with a lot of commas. It is played here by Daniel Barenboim.
Variation 1 begins at 1:38
Variation 2 at 2:56
Variation 3 at 4:23
The Coda (or tail), at 5:08
2. Middle: The second movement of Piano Sonata No. 23 in F minor, Op. 57, the "Appassionata", is the calm between two storms. It has a hymn-like solemn quality to it. Again, it has two parts, each of which repeats. It is played here by Maurizio Pollini.
Variation 1 begins at 1:31
Variation 2 at 2:45
Variation 3 at 3:55
Variation 4 at 4:54
The 4th variation omits the repeats. Instead of a coda, Beethoven shocks us with a dissonance, which interrupts it at 5:54, and leads directly into a tempestuous third movement.
3. Late: The second, and final movement of Beethoven's last Piano Sonata No. 32 in C minor, Op. 111, wins our vote for the most sublime piano music ever composed. After a lifetime of composing, he could now write a different type of theme and variations, that moved in and out of the form, not only without violating it, but transporting it higher, to previously unheard of levels. Again, the theme consists of two parts that repeat. The first part is in C major; the second in A minor. It is played here by Annie Fischer. Our commentary, is of necessity, more detailed.
Variation 1 begins at 2:15, It introduces a bit of rhythm into the solemn hymn-like theme.
Variation 2 begins at 4:00 and continues the process. Beethoven, bit by bit, comes to imply the theme, rather than explicitly state it.
Variation 3 begins at 5:31. This is sometimes characterized as an anticipation of "jazz."
Variation 4 begins at 7:42 and lasts until 10:51. It begins to change everything. For the first time the repeats are different. From a low rumble in the bass, they soar up into the stratosphere, into the celestial, at 8:23, and again at 9:43. Is there a theme here? If you know it well enough, try singing the theme, and you will find that you can match it to this ethereal music, note for note. The theme is always implied! At 10:25, this variation grows its own tail, or Coda, as if it were finished!
Variation 5 starts at 10:51. Is this actually a variation? Beethoven settles on a trill, and just the 2 opening notes of the theme. At 11:20 it freezes on a triple trill. What is happening? Have we died and gone to heaven? If so, it outdoes any harp music we know of! The trill keeps rising upwards. At 11:53, a short section pays tribute to Mozart's Fantasy in c minor, K. 475.
Variation 6 begins at 12:40. A full reprise seizes us. It is a complete variation, with the theme once again stated explicitly (although without repeats) but in a triumphant tone, with triplets putting it into full motion.
Coda: Early Codas, or tails, were short and stubby. With Beethoven, the tail now seems to begin to wag the dog. However, a masterwork is not a dog, and increasingly, Coda seems like a misnomer. Beethoven's Coda's not only summarize the work, they take it to a new level, and point to the future.
The Coda begins at 14:00, and takes us once again into the heavens at 14:30. The movement ends, not by lowering us to earthly levels, but establishing that level of the sublime, "on earth, as it is, in Heaven."
Schiller said that he wished his audience leave the theater as "better people than when they went in." What do you feel after working through this movement? Feel free to listen again! One can never tire of it.