Ludwig van Beethoven – portrait by Gandolph Ernst Stainhauser
6 Easy Variations on an original theme in G major WoO 77 for piano (1800, Beethoven aged 29)
What’s the theme like?
Unusually, the theme appears to be Beethoven’s own. It is an ‘easy to play’ number, simply structured but ripe for development. There is just the hint of a dance round the edges.
Background and Critical Reception
So far in his Viennese career Beethoven has not gone long without dashing off another theme and set of variations – and even with so many important pieces and premieres around him, the year of 1800 was no exception. Despite their title, these ones have meaning though. The educational intent behind the Easy Variations on an original theme,writes Jean-Charles Hoffelé, ‘should not distract the listener from what is daring about the music: the expressive power of the Poco sostenuto creates an astonishing effect at the centre of the set.’
The variation to which he refers is the fourth, set in a minor key and providing a striking contrast to those around it.
These are beautifully crafted variations, and as is suggested they prove far more emotive than the title suggests. They are a good showpiece for a pianist, with elements of soft and loud, delicate and heavy, often within the same variation. After a simple beginning Beethoven puts the pianist through their paces with a terrifically pacy second variation them an ultra-solemn fourth, which really delves deep into the heart. Set in the minor key, the music withdraws to a simple unison statement, the hands one octave apart and trapped further down on the keyboard.
When all seems lost a brighter passage appears on cue, a real ‘darkness to light’ moment where the music looks outwards and upwards. Beethoven can’t then resist a final flourish before the end, signalling his determination to push on.
Recordings used and Spotify links
Olli Mustonen (piano) (Decca)
Cécile Ousset (piano) (Eloquence)
Ronald Brautigam (fortepiano) (BIS)
Alfred Brendel (piano) (Vox)
John Ogdon (piano) (EMI)
Some really fine versions here. Olli Mustonen’s is spring-loaded to begin with but hurtles through a quick fourth variation which is far from anything easy! He is a terrific entertainer, whereas John Ogdon and Alfred Brendel are both superb but have a measured control. The variations transfer well to fortepiano, and are clearly enjoyed by Ronald Brautigam.
You can chart the Arcana Beethoven playlist as it grows, with one recommended version of each piece we listen to. Catch up here!
Also written in 1800 Campagnoli 6 Fugues for Solo Violin Op.10
Next up Piano Sonata no.11 in B flat major Op.22