Carl Ditters von Dittersdorf (left) and the young Ludwig van Beethoven

14 Variations in E flat major Op.44 for piano trio (1790-92, Beethoven aged 21)

Dedication not known
Duration 15′

Listen

What’s the theme like?

Very simple – but Dittersdorf‘s theme has comic potential, as you might expect from a humorous stage work. In the right (or wrong!) hands this could be a bit po-faced.

Background and Critical Reception

Beethoven wrote a lot of chamber music for trio in his Bonn years – and a good deal in the key of E flat major too. This piece was not published until 1804, but is thought to have been completed in 1792 before he left for Vienna. Choosing a simple theme from a comic operetta by Dittersdorf, Das rote Käppchen (‘The little red cap’), he wrote 14 variations of varying character.

Writing to accompany the Florestan Trio recording of this piece on Hyperion, Richard Wigmore compliments Dittersdorf, whose ‘comically rudimentary tune is a vision of dry bones, as bare as the famous ‘Eroica’ theme which it faintly resembles.’ He also notes the glint in Beethoven’s eye and his predilection for mischief in several of these variations, most notably the ‘delicately tripping twelfth…’disrupted by an uncouth fortissimo outburst – Beethoven gleefully sticking out his tongue at rococo decorum’.

Thoughts

This set of variations is great fun, and you really get a sense of Beethoven flexing his compositional muscles and trying a few new things. From the first variation there are strong hints that he is going to have some fun with this theme – and so it proves. In the second variation the pianist enjoys the opportunity to flex the rhythms, bringing in the violin for a capricious third variation, before the baton passes to the cello for the benefit of its richer tone.

The ensemble passages have great energy, and for almost the first time we are getting a sense of the terrific forward drive in Beethoven’s music, especially in the propulsive movement of the sixth variation. A slow minor key deviation follows (variation 7), the cello and violin exchanging mournful thoughts, before the distant chugging of the violin and cello support a piano theme given in octaves. Variation 9 is lively and fun, while the syncopations of the tenth feel particularly advanced at this stage in Beethoven’s development.

As we approach the end, the second minor key variation (13) is even slower and more drawn out. This only makes the reappearance of the ‘home’ key all the happier, before a striking passage where the piano takes a sort of cadenza over the bare bones of the strings. Finally we return to the simplicity of the theme’s profile from the start, before a rush to the finish.

The variety and virtuosity of these variations is reminiscent of the earlier Venni Amore variations for piano, in their wide breadth of moods and techniques – and in their entertainment value, too.

Recordings used

Florestan Trio (Susan Tomes (piano), Anthony Marwood (violin), Richard Lester (cello) (Hyperion)
Wilhelm Kempff (piano), Henryk Szeryng (violin), Pierre Fournier (cello) (Deutsche Grammophon)
Daniel Barenboim (piano), Pinchas Zukerman (violin), Jacqueline du Pré (cello) (originally EMI Classics)

The superstar trio of Henryk Szeryng, Pierre Fournier and Wilhelm Kempff take their time with Dittersdorf’s theme in a very deliberate presentation, and Variation 2 finds Kempff in particularly airy mood – but it is really well judged. That said, they are still a good deal quicker than another superstar ensemble, including husband and wife team Daniel Barenboim and Jacqueline du Pré.

The best modern version of the variations comes from the Florestan Trio on Hyperion, which enjoys not just the sparkling pianism of Susan Tomes but also the closely-matched Anthony Marwood and Richard Lester. They all embody the first principles of chamber music by clearly listening to each other and responding in kind. As a result their recording is instinctive and fun.

Spotify links

Wilhelm Kempff (piano), Henryk Szeryng (violin), Pierre Fournier (cello) (Deutsche Grammophon)

Daniel Barenboim, Pinchas Zukerman, Jacqueline du Pré

You can hear a clip from the Florestan trio version on the Hyperion website

Also written in 1792 Haydn Symphony no.73 in D major ‘La Chasse’

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