32 Variations in C Minor, WoO 80 Ludwig van Beethoven
In
addition to his thirty-two monumental piano sonatas, Beethoven wrote no fewer
than twenty-two sets of variations for solo piano. Variation sets were an
easy way to reach a mass audience; it was common for composers to use popular
themes taken from operas, ballets, or folk songs of the day and compose
light-hearted variations geared toward the amateur performer. Although
Beethoven often followed this pattern, he sometimes chose to use themes of his own
invention. The "theme" in this case is of a decidedly serious character,
consisting of not much more than an eight-bar chord progression with a
prominent descending bass line. The thirty-two variations that follow explore
various aspects of the theme and its bass line, leading to a work that feels
more like a Baroque chaconne than a set of variations. A short coda
fixates on a rhythmic aspect of the theme's seventh bar before cascading C
minor octaves lead to a surprisingly hushed conclusion. Michael Mizrahi
Classical Music | Piano Music
Ludwig van Beethoven
32 Variations in c minor, WoO 80
PlayRecorded on 03/10/2010, uploaded on 07/25/2010
Musician's or Publisher's Notes
32 Variations in C Minor, WoO 80 Ludwig van Beethoven
In addition to his thirty-two monumental piano sonatas, Beethoven wrote no fewer than twenty-two sets of variations for solo piano. Variation sets were an easy way to reach a mass audience; it was common for composers to use popular themes taken from operas, ballets, or folk songs of the day and compose light-hearted variations geared toward the amateur performer. Although Beethoven often followed this pattern, he sometimes chose to use themes of his own invention. The "theme" in this case is of a decidedly serious character, consisting of not much more than an eight-bar chord progression with a prominent descending bass line. The thirty-two variations that follow explore various aspects of the theme and its bass line, leading to a work that feels more like a Baroque chaconne than a set of variations. A short coda fixates on a rhythmic aspect of the theme's seventh bar before cascading C minor octaves lead to a surprisingly hushed conclusion. Michael Mizrahi
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Sonata No. 32 in c minor, Op. 111
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Piano Sonata No. 21 in C Major
Ballade No. 1 in g minor, Op. 23
Tango for Viola and Piano
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First Ballade
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