Guest post by Dr. Dominik Rahmer, editor at G. Henle Verlag.
The formal technique of “variations” played an important role in Beethoven’s work throughout his entire life. Critic Paul Bekker wrote in 1911, “Beethoven begins with variations,” and indeed this is true not only of the character of his oeuvre, but also of its chronological progression: Beethoven’s very first published work was his 9 Variations on a March by Dressler, WoO 63, which appeared in 1782.
Dressler Variations, WoO 63: Beginning of the Theme
Similarly, we could add that Beethoven also ends with variations. The Diabelli Variations, Op. 120, which are amongst his last piano works, not only crown his creativity, but also, in the history of piano variations, are probably equaled only by Bach’s Goldberg Variations.
The panoply of variations within his multi-movement works also indicates how fundamental this technique is in Beethoven’s musical thinking. Consider, for example, the profound closing movement of the last piano sonata, Op. 111, or the grand finale of the 3rd Symphony.
Though the themes of these movements were usually Beethoven’s own inventions, here we will focus on the pieces composed as independent variation sets on popular melodies. This vantage point reveals some interesting finds. Continue reading ‘A Short Foray into Beethoven’s Variations’
1870 marked the 100th birthday of 
The most monumental symphony of them all, the 
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