Feiyan Yang

Professor David Cannata

MUST 3796-004

12 February 2019

Assignment 2

Beethoven wrote the 33 Variations on a waltz by Anton Diabelli, Op. 120 between 1819 and

1823. The piece is based on Anton Diabelli's waltz. Except for Beethoven, Schubert and the young

Liszt also had written variations for Diabelli’s mediocre theme, but incontrovertibly Beethoven's

work is the most well-known one. The music is famous for its gorgeous and challenging piano

techniques and ingenious harmony and with these musical characters, it earns itself an important

place in the history of music. Musicologists and performers such as Arnold Schoenberg and Alfred

Brendel have all praised the work. If Beethoven's purpose of writing such a remarkable work is to

show-off his compositional ability and surpass Bach’s Gothenburg Variations, BWV998, then he has

not only achieved his goal but accomplished it impressively. Beethoven dedicated the 33 Variations

on a waltz by Anton Diabelli, Op. 120 to Antonie von Brentano, his "Immortal Beloved".

Theme: Vivace

The theme has two parts. Waltz is not only a dance but also a form of music during this

period, so in addition to the feeling of joy, the musical composition of this theme is worth studying,

too. We can hear several elegant grace notes, the crescendos in each musical phrase create dynamic

contrasts and let the melodies flow. As a result of the crescendos in the repeated chords in the

higher register, Beethoven added sforzandos in the left-hand lower register, when we listen to the

music, we can clearly recognize the directionality of the melody.

Variation 1: Alla marcia maestoso

exaggerated dynamic contrasts, making the variation sounds almost unrelated to the theme. Though

in fact it is actually derived from the theme with some harmonic extensions.

Variation 2: Poco allegro

The second variation is lively and cheerful. The jumping notes have created a joyful

atmosphere and become a contradiction to the first variation. However, the repetitions of same

rhythmic pattern could be annoying since they require performers to handle every small note

properly. Additionally, the lack of dynamic contrasts in this variation make it seem like an finger

exercise rather than a concert music.

Variation 3: L'istesso tempo

The third variation is relatively calm and smooth. Some melodies continue over the bar lines

and their enduring connections create a bit of ambiguity in distinguishing musical phrases. In the

second part of this variation, a short bass pattern emerges, repeats for several times, making the tone

of the entire variation darkened.

Variation 4: Un poco più vivace

In the fourth variation, Beethoven composed both songful melodies and dynamic contrasts.

Each voice in both hands has specific melodies make this variation look like a string quartet,

especially in the first part and the end of the second part.

Variation 5: Allegro vivace

This variation is longer comparing with the others. It starts with an upbeat, leading to a

pleasing and graceful melody. This variation contains several key changes, each associates with

emotional changes.
Variation 6: Allegro ma non troppo e serioso

The sixth variation starts with a glorious trill, indicating that this variation will also be

gorgeous and passionate. Beethoven used a lot of arpeggios as a preview of the next variation.

Variation 7: Un poco più allegro

In the seventh variation we can hear a strong disparity between the left hand and the right

hand, whether melodically or rhythmically. Beethoven wrote a large number of arpeggios and lively

rhythms in the right hand part, while the left hand has a comparatively simple rhythm and octaves.

Variation 8: Poco vivace

The eighth variation may remind us of Chopin or other representatives of composers from

the romantic period, because this variation has plain, pleasant melody and arpeggiated notes in the

lower register. This variation has a fascinating, creamy tone color, with a lot of legato.

Variation 9: Allegro pesante e risoluto

A short variation. It has similarity in style to a traditional scherzo, though this variation has a

certain degree of freedom at its ending.

Variation 10: Presto

An amazing variation, we should not be surprised if a performer plays with this piece for the

encore of a concert. Beethoven wrote on the score requiring the performer to demonstrate his or

her ability in mastering all dynamics in this short variation, while the steady, fast rhythm also requires

the performer to have solid, perfect techniques.

Variation 11: Allegretto

slow and euphonious triplets and the shadowy chord progressions give this variation a distinctly

dark shade.

Variation 12: Un poco più moto

The variation unfolds with repeated neighbor notes. The original theme embodies within the

whirling melody. In this variation, its chromatic harmony creates intensity and the use of pedal gives

the effect of a grand organ.

Variation 13: Vivace

According to our analyzation to the previous variations, Beethoven consciously changed the

speed of each variation to present strong contrasts. Dotted chords continue and weave through

harmonies.

Variation 14: Grave e maestoso

This variation is slow and majestic. Forte dissolving instantly to piano without benefit of a

decrescendo can be tricky. One must finesse the pedal to achieve the effect.

Variation 15: Presto scherzando

The fifteenth variation is short and light. This scherzo has delightful melodies and an

entertaining character. It could possibly be a prediction of the next variation.

Variation 16: Allegro

This variation is very gorgeous. The astonishing chromatic melody line in the left hand

reminds me of Liszt's works, but the coherent and soft melody in the higher register obviously stays

in Beethoven's style.

Variation 17
 An exchange between the left hand part and the right hand part from variation 16. A

performer should definitely play the two variations together without stopping since the two have

such strong relationship in between.

Variation 18: Poco moderato

The eighteenth variation is dolce, tranquil, even meditative. In this variation, Beethoven had

repeatedly weakened the volume when the melody goes upward, this composition method appears

more frequently in latter French musics.

Variation 19: Presto

The arpeggiations return in this variation. The fast tempo constitutes a sense of impatience

and anxiety, though the variation ends illustriously.

Variation 20: Andante

This variation is like a commendation of a soul. Special chords bring negative and dark

emotions, dotted half notes move peacefully, almost inertly, and the dynamics complete the serene

and expansive terrain.

Variation 21: Allegro con brio

It is an extreme contrast to the preceding variation 20. The repeated trills repeat from the

highest to the lowest registers ruthlessly exaggerate features of Diabelli's theme. The performer is

challenged in expressing the wild side while timing the demure moments so that they spring

naturally from one tempo to the next, or more exactly, from one emotion to the next. The variation

is successful if the duality can appear as an organic, artless whole.

Variation 22: Allegro molto alla "Notte e giorno faticar" di Mozart

symphonies and operas, I personally do not think that Beethoven's attempt here is erroneous.

Variation 23: Allegro assai

Variation 23 is similar to variation 2 and variation 15 since they are all good for finger

exercising. The performer needs to regulate his or her both hands’ fingers quite well so that he or

she could show-off in this variation.

Variation 24: Fughetta. Andante

This fughetta has Bach’s style, but it is more sensitive, especially for its trill in the lower register

and its harmonic richness.

Variation 25: Allegro

This variation sounds like a folk dance, it is untrammeled, unrestrained and have a cheerful

essence. Beethoven wrote simple chords in the right hand incessantly, and busy pattern in the left

hand.

Variation 26

Arpeggios appear again, but smoother and silkier. The whole variation is in a soft dynamic.

Variation 27: Vivace

The variation structure is similar to the previous one, in the exclusive use of three-note figures,

the descending-to-ascending pattern, and the switch to stepwise passagework in contrary motion at

the midpoint of each half.

Variation 28: Allegro

In this variation we can hear the communication between the upper voice and the lower voice

clearly. Beethoven composed sforzandos with neighbor tones and sustained rhythmic pattern.
Variation 29: Adagio ma non troppo

The variation is in minor. Beethoven brought a sense of melancholy to this variation. The lazy

rhythm and the gentle chords occasionally surprise people, but it does not cause huge emotional

fluctuations. Beethoven's use of short notes in slow musical passages may have inspired other

composers. The thirty-second notes in the variation are more like grace notes or ornamentation

since they seldom have any specific functions in harmony.

Variation 30: Andante, sempre cantabile

The beginning of this variation sounds a little jazzy. Before long, the gloom of the minor key

was replaced by the brightness of the major, but the moment of light did not last for long either. As

the dissonant intervals occur, the variation returns to the previous atmosphere. This variation

sounds like a lament that doesn't follow traditional Baroque rules, with deep sadness and rich

thoughts.

Variation 31: Largo, molto espressivo

The last slow variation in the entire work. This variation is like a completion of the previous

variation and simultaneously, an enlargement of all emotional feelings from the variations in minor

key. Beethoven amplified the sad emotions with ornaments and trills. The lower neighbor notes

sound almost degenerate and have a sense of ambiguity. This variation sounds like the second

movement of a piano sonata, where the performer can present his or her musical understanding and

personality.

Variation 32: Fuga. Allegro

While in traditional variation sets a fugue was often used to conclude the work, Beethoven uses

his fugue to reach a grand climax, then follows it with a final, quiet minuet. The themes are

presented in a variety of harmonies, contexts, lights and shades, and by using the traditional fugal
techniques of inversion and stretto. The transition to the sublime minuet that forms the final

variation is a series of quiet, greatly prolonged chords that achieve an extraordinary effect. The huge

and diminished arpeggio is totally Beethoven’s style.

Variation 33: Tempo di Minuetto moderato (aber nicht schleppend)

Different from the dark emotions and fierce undulating emotions exhibited by in the previous

variations, the final variation is like the morning after a nightmare, and all the chaos and drifting

feelings are settled down. The whole variation is brilliant. After showing all of his composition skills,

Beethoven used such a peaceful variation as the end of the whole work, I believe this also shows his

good quality as a composer.