“I have composed two sets of variations,” Beethoven wrote to his publisher on 18 October 1802, “one consisting of eight variations and the other of thirty. Both sets are worked out in quite a new manner, and each in a separate and different way.” (Anderson, Letters, #72)
The two sets of piano variations that Beethoven announced to his publisher in 1802 were the first to be published with opus numbers: 34 and 35. Except for the “easy” WoO 77 variations (Day 133), they were also the first of his piano variations to be based on original themes.
Variation themes are usually simple, tuneful, even silly. But Beethoven’s Opus 34 Variations begins with an exceptionally expressive Adagio that sounds like it was lifted from the middle of a piano sonata.
#Beethoven250 Day 160
Variations on an Original Theme in F Major (Opus 34), 1802
The amazing Indonesian pianist Stephanie Onggowinoto performs in Jakarta.
Beethoven told his publisher that this composition consisted of eight variations, but the score only shows six. As Barry Cooper points out (“Beethoven,” p. 126), the Coda can count as a 7th variation (at 10:01 in this video), and then an Adagio 8th variation begins at 10:45.
Beethoven’s claim of a “new manner” for his Opus 34 variations is apparently a reference to the change in time signature that occurs with each variation, as well as the changes in key, each successive variation dropping by a third.
In Op. 34, “Beethoven appears to be trying to convey something like the vicissitudes of a human journey, inscribing a musical metaphor for a circuitous route. … a pattern of departure, extension, and return is implicit in Beethoven’s formal plan.” — M. Solomon “Beethoven” p 131
#Beethoven250 Day 160
Variations on an Original Theme in F Major (Opus 34), 1802
An isolation video from pianist David Korevaar’s home in Longmont Colorado.