Diabelli Variations
The 33 Variations on a waltz by Anton Diabelli, Op. 120, commonly known as the Diabelli Variations, is a set of variations for the piano written between 1819 and 1823 by Ludwig van Beethoven on a waltz composed by Anton Diabelli. It forms the first part of Diabelli's publication Vaterländischer Künstlerverein, the second part consisting of 50 variations by 50 other composers. It is often considered to be one of the greatest sets of variations for keyboard along with Bach's Goldberg Variations.
Diabelli Variations
The music writer Donald Tovey called it "the greatest set of variations ever written"[1] and pianist Alfred Brendel has described it as "the greatest of all piano works".[2] It also comprises, in the words of Hans von Bülow, "a microcosm of Beethoven's art".[3] In Beethoven: The Last Decade 1817–1827, Martin Cooper writes, "The variety of treatment is almost without parallel, so that the work represents a book of advanced studies in Beethoven's manner of expression and his use of the keyboard, as well as a monumental work in its own right".[4] In his Structural Functions of Harmony, Arnold Schoenberg writes that the Diabelli Variations "in respect of its harmony, deserves to be called the most adventurous work by Beethoven".[5]
Beethoven's approach to the theme is to take some of its smallest elements – the opening turn, the descending fourth and fifth, the repeated notes – and build upon them pieces of great imagination, power and subtlety. Alfred Brendel wrote, "The theme has ceased to reign over its unruly offspring. Rather, the variations decide what the theme may have to offer them. Instead of being confirmed, adorned and glorified, it is improved, parodied, ridiculed, disclaimed, transfigured, mourned, stamped out and finally uplifted".[6]
Beethoven does not seek variety by using key-changes, staying with Diabelli's C major for most of the set: among the first twenty-eight variations, he uses the tonic minor only once, in Variation 9. Then, nearing the conclusion, Beethoven uses C minor for Variations 29–31 and for Variation 32, a triple fugue, he switches to E♭ major. Coming at this late point, after such a long period in C major, the key-change has an increased dramatic effect. At the end of the fugue, a culminating flourish consisting of a diminished seventh arpeggio is followed by a series of quiet chords punctuated by silences. These chords lead back to Diabelli's C major for Variation 33, a closing minuet.
Title[edit]
The title Beethoven gave to the work has received some comment. His first reference was in his correspondence, where he called it Große Veränderungen über einen bekannten Deutschen Tanz ("Grand Variations on a well-known German dance"). Upon first publication, however, the title referred explicitly to a waltz by Diabelli: 33 Veränderungen über einen Walzer von Diabelli.
Beethoven chose the German word Veränderungen rather than the usual Italian-derived Variationen, in a period when he preferred using the German language in expression marks and titles, such as Hammerklavier.[20] Yet, apart from the title, we find only traditional Italian musical terms within the work, suggesting that Beethoven was probably trying to make a point in his use of Veränderungen. Since Veränderungen can mean not only "variations" but also "transformations", it is sometimes suggested that Beethoven was announcing that this work does something more profound than had hitherto been done in variation form.
Dedication[edit]
Although some commentators find significance in the work's dedication to Mme. Antonie von Brentano, offering it as evidence that she was Beethoven's "Immortal Beloved",[21] she was not Beethoven's first choice. His original plan was to have the work sent to England where his old friend, Ferdinand Ries, would find a publisher. Beethoven promised the dedication to Ries's wife ("You will also receive in a few weeks 33 variations on a theme dedicated to your wife". Letter, April 25, 1823). A delay in the shipment to England caused confusion. Beethoven explained to Ries in a later letter, "The variations were not to appear here until after they had been published in London, but everything went askew. The dedication to Brentano was intended only for Germany, as I was under obligation to her and could publish nothing else at the time. Besides, only Diabelli, the publisher here, got them from me. Everything was done by Schindler, a bigger wretch I never knew on God's earth—an arch-scoundrel whom I have sent about his business—I can dedicate another work to your wife in place of it ..."[22]
Beethoven and Bach[edit]
The reputation of the Diabelli Variations ranks alongside Bach's Goldberg Variations. However, while in the Goldberg Variations Bach deprived himself of the resources available from taking the melody of the theme as a guiding principle, thereby gaining an independence in melodic matters that enabled him to attain far more variety and expanse, Beethoven made no such sacrifice. He exploited the melody, in addition to the harmonic and rhythmic elements, and by doing so succeeded in fusing them all into a set of variations of incredible analytical profundity. In addition to the analytical aspects, Beethoven enlarged upon the dimensions of this musical material so that the Diabelli Variations are properly called 'amplifying variations'.
Numbers 24 and 32 are more or less textbook fugues that show Beethoven's debt to Bach, a debt further highlighted in variation 31, the last of the slow minor variations, with its direct reference to the Goldberg Variations.
The variations[edit]
Theme: Vivace[edit]
Diabelli's theme, a waltz with off-beat accents and sharp changes in dynamics, was never intended for dancing. By this time, the waltz was no longer merely a dance but had become a form of art music. Alfred Brendel's suggested title for Diabelli's theme, in his essay "Must Classical Music be Entirely Serious?", making the case for viewing the Diabelli Variations as a humorous work, is Alleged Waltz.[31] Commentators do not agree on the intrinsic musical value of Diabelli's theme.