| To mark the fifth anniversary of ITYWLTMT, we are undertaking a long-term project that will introduce - and re-introduce - musical selections in the context of a larger thematic arc I am calling "A Journey of Musical Discovery". Read more here. |
This month’s
installment of Project 366 is another stand-alone theme with illustrations,
this one dusting up a thematic arc from January 2014.
The Oldest
Trick in the Book
In one of our
earliest chapters, we talked about sonatas, and introduced the general concept
of musical form – that is to say, the
“method behind the madness” of organizing a piece of music. Forms can be very
strict (the sonata form, or three-part form is a good example of that), and
others can be less rigid, but form is after all form, and there has to be a set
of “simple rules” that allow us to build a piece (or recognize how a piece is
built). In his famous Omnibus
television lecture on Beethoven’s Fifth Symphony, Leonard Bernstein talked
about form as “a mold of Jell-O”.
One example if a
popular musical form is the “theme and variations”. In its simplest
manifestation, a musical theme is
“exposed” and is repeated in altered form or accompanied in a different manner
through a set of variations
“developed” from that theme. T & V structure generally begins with a theme
(which is itself sometimes preceded by an introduction), typically between
eight and thirty-two bars in length; each variation, particularly in music of
the eighteenth century and earlier, will be of the same length and structure as
the theme.
The basic
principle of beginning with simple variations and moving on to more elaborate
ones has always been present in the history of the variation form, since it
provides a way of giving an overall shape to a variation set, rather than
letting it just form an arbitrary sequence. In a way, this form may in part
have derived from the practical inventiveness of musicians.
According to a fine
article in Wikipedia, works in T & V form first emerge in the early sixteenth century. Keyboard
works in variation form were written by a number of 16th-century English
composers, including William Byrd, Hugh Aston and Giles Farnaby. Outstanding examples of early Baroque variations are
the "ciaccone" of Claudio
Monteverdi and Heinrich Schütz]
Two famous variation sets from the Baroque era, both originally written for
harpsichord, are George Frideric Handel's
The Harmonious Blacksmith set, and Johann Sebastian Bach's Goldberg Variations.
In the Classical
era, Wolfgang Amadeus Mozart wrote a
great number of variations, such as the first movement of his Piano Sonata in
A, K. 331, or the finale of his Clarinet Quintet. Joseph Haydn specialized in sets of double variations, in which two
related themes, usually minor and major, are presented and then varied in
alternation; outstanding examples are the slow movement of his Symphony No.
103, the Drumroll, and the Variations
in F minor for piano, H XVII:6.
Musicians of the
Classical era also could improvise
variations; both Mozart and Beethoven
made powerful impressions on their audiences when they improvised. Modern
listeners can get a sense of what these improvised variations sounded like by
listening to published works that evidently are written transcriptions of
improvised performances, in particular Beethoven's Fantasia in G Minor, Op. 77,
and Mozart's Variations on an Aria by Gluck, K. 455. Beethoven wrote many
variation sets in his career. Some were independent sets, for instance the Diabelli Variations, and the Eroica Variations . Others form single
movements or parts of movements in larger works, such as the variations in the
final movement of the Third Symphony (Eroica).
We could
continue the list through the Romantic (Chopin
and Mendelssohn) and the Late
Romantic (Johannes Brahms). Variation
sets have also been composed by notable twentieth-century composers, including Sergei Rachmaninov (Rhapsody on a Theme
of Paganini, and his variations for solo piano on themes by Chopin and
Corelli), Charles Ives (Variations
on "America"), Arnold Schoenberg
(Theme and Variations, Opp. 43a and 43b), and the list goes on…
A significant
sub-set of the above consists of variations on a theme by another composer –
Brahms’s variations on themes by Haydn and Paganini,
Chopin, Liszt and many others based
on operatic arias by Mozart and others, the list can go on for pages!
Your
Listener Guides
Listener
Guide #77 “TDMH June 1954”.
Taken from the broadcast archives of the CBC, Glenn Gould performs the Goldberg Variations and other Bach
favourites (ITYWLTMT Podcast # 161 - 20 June 2014)
Listener
Guide #78 – “Tchaikovsjy Suites nos. 3 and 4”. From my vinyl collection, a pair of recordings of
Tchaikovsky Orchestral; Suites, both with elaborate Theme and Variation
movements (Vinyl’s Revenge # 24 - 3 Jan 2017)
Listener
Guide #79 – “Theme and Variations: Paganini Edition”. Rachmaninov, Brahms and Liszt use themes by Paganini
in elaborate T & V works. (ITYWLTMT Podcast # 137 - 3 Jan 2014)
Listener
Guide #80 – “Variations on a Song”. “Twinkle Twinlkle Little Star”, “The Carnival of
Venice” and :”I Got Rhythm” are example of songs that get the T & V
treatment in this montage. (ITYWLTMT Podcast # 139 - 17 Jan 2014)
Listener
Guide #81 – “Variations for Orchestra”. A set of works for orchestra that exploit the T
& V form by Elgar and Britten among others (ITYWLTMT Podcast #131 - 31 Jan 2014)
No comments:
Post a Comment