Diabelli Variations - Knowledge (XXG)

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generally, Departure-Return. The first section 1–10 begins with two deliberately conservative variations followed by progressive distancing from the waltz – in tempo, subdivision, extremity of register, and abstraction. Thus the effect of this section is expositional, with a grounded start and a sense of departure. The brilliant variation 10 is a clear climax, with no logical continuation other than a reset – indeed, the subdued, suspended 11 opposes 10 in practically every musical parameter, and the contrast is striking. Thus begun, the second section 11–24 is defined by between-variation contrast, with nearly every sequence a stark juxtaposition, often exploited for comic and dramatic effect. The tension and disorder achieved with these contrasts gives the section a developmental quality, an instability requiring a re-synthesis. The conclusion of the fughetta no. 24, with suspension and fermata, is the second major section break. Out of the solemn silence following 24, 25 enters humorously, the last moment of programmatic contrast and the last structural variation, anchoring the cycle to the theme once more before heading off into the final section. Variations 25–33 form another progressive series, rather than a collection of contrasts. The familiarity of 25 (especially after its predecessors) and the ensuing return to a progressive pattern give this section a recapitulatory quality. First the theme is subdivided and abstracted to the point of disintegration with 25–28. Variations 29–31 then descend into the minor, culminating in the baroque-romantic largo 31, the emotional climax of the work and the groundwork for the sense of transcendence to come. A dominant segue seamlessly heralds the massive fugue 32 – the 'finale' in its relentless energy, virtuosity, and complexity. The intensely suspenseful final transition dissolves into the Minuet, at once a final goal and a denouement. The effect of the full cycle is the distinct sense of a dramatic arch – this could arguably be achieved to some extent from sheer duration; however, the strategically placed structural variations, meticulous sequencing, sweeping departure and return, and inspired final progression augment this effect and demonstrate its intentionality.

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original structures and ideas, the boldest musical idioms and harmonies are here exhausted; every pianoforte effect based on a solid technique is employed, and this work is the more interesting from the fact that it is elicited from a theme which no one would otherwise have supposed capable of a working-out of that character in which our exalted Master stands alone among his contemporaries. The splendid Fugues, Nos. 24 and 32, will astonish all friends and connoisseurs of serious style, as will Nos. 2, 6, 16, 17, 23, &c. the brilliant pianists; indeed all these variations, through the novelty of their ideas, care in working-out, and beauty in the most artful of their transitions, will entitle the work to a place beside Sebastian Bach's famous masterpiece in the same form. We are proud to have given occasion for this composition, and have, moreover, taken all possible pains with regard to the printing to combine elegance with the utmost accuracy.

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repeated root-position triad, demonstrating the intent to keep the beginning of the set somewhat anchored. Afterwards however, Diabelli is barely recognizable until Variation 15, the second structural variation, a brief, lightweight piece conspicuously inserted between several of the most powerful variations (Nos. 14, 16 and 17). It recalls and caricatures the original waltz by means of its prosaic harmony. The third and final structural variation, in Kinderman's analysis, is No. 25, which shifts Diabelli's monotonous rhythm from the bass to the treble and fills the bass with a simple figure endlessly repeated in a "lumbering caricature". Arriving comically after the sublime Fughetta's arresting conclusion, it opens the concluding section of the series, from the total unraveling of the following major variations and descent into minor, to the determination of the fugue, to the transcendence of the minuet.

494:, would find a publisher. Beethoven promised the dedication to Ries's wife ("You will also receive in a few weeks 33 variations on a theme dedicated to your wife". Letter, April 25, 1823). A delay in the shipment to England caused confusion. Beethoven explained to Ries in a later letter, "The variations were not to appear here until after they had been published in London, but everything went askew. The dedication to Brentano was intended only for Germany, as I was under obligation to her and could publish nothing else at the time. Besides, only Diabelli, the publisher here, got them from me. Everything was done by 39: 1541:. Von Bülow comments, "To imbue this wonderful number with what I should like to call the 'high priestly solemnity' in which it was conceived, let the performer's fantasy summon up before his eyes the sublime arches of a Gothic cathedral." Kinderman writes of its "breadth and measured dignity", adding "its spacious nobility brings the work to a point of exposure which arouses our expectations for some new and dramatic gesture." The three variations which follow certainly fulfill those expectations. Brendel's title for this variation is 336:, writes, "Diabelli, born near Salzburg in 1781, had now been for some years one of the more prolific composers of light and pleasing music, and one of the best and most popular teachers in Vienna. He was much employed by Steiner and Co., as copyist and corrector, and in this capacity enjoyed much of Beethoven's confidence, who also heartily liked him as a man." At the time of his project for variations on a theme of his own by various composers, Diabelli had advanced to become a partner in the publishing firm of Cappi and Diabelli. 2241:"A kind of Baroque lament" (Kinderman). Slow and expressive, like the variation which follows. Its final bars lead smoothly to Variation 31. Commentators have used strong language for the concluding section. Tovey describes it as "a phrase so haunting that though Beethoven does not repeat the entire sections of this variation he marks the last four bars to be repeated". Von Bulow says, "We can recognize in these four measures the original germ of the entire romanticism of Schumann". Brendel's title for this variation is 2366: major: it is the only variation where C is not the tonic. Structurally, the piece abandons Diabelli's two-part original. Melodically, it is based on Diabelli's falling fourth, used in many of the preceding variations, as well as, most strikingly, on the least inspired, least promising part of Diabelli's theme, the note repeated ten times. The bass in the opening bars takes Diabelli's rising figure and presents it in descending sequence. Out of these flimsy materials, Beethoven builds his powerful triple fugue. 612:

to a transcendent reality. For Solomon the structure, if there is any, consists merely of "clusters of variations representing forward and upward motion of every conceivable kind, character and speed". He sees demarcation points at Variations 8, 14 and 20, which he characterizes as three "strategically placed plateaus provide spacious havens for spiritual and physical renewal in the wake of the exertions which have preceded them".). Thus, his analysis yields four sections, variations 1–7, 9–13, 15–19 and 21–33.

730:, which begins by carefully tracing the development of the work through various Beethoven sketchbooks. Of great significance, according to Kinderman, is the discovery that a few crucial variations were added in the final stage of composition, 1822–23 and inserted at important turning-points in the series. A careful study of these late additions reveals that they stand out from the others by having in common a return to, and special emphasis on, the melodic outline of Diabelli's waltz, in the mode of 774:

head of Diabelli's theme once again becomes explicit – indeed, it is hammered into the ground. But any further sense of the original context of the waltz is lacking. By means of three parody variations, 1, 15, and 25, Beethoven established a series of periodic references to the waltz that draw it more closely into the inner workings of the set, and the last of these gives rise to a progression that transcends the theme once and for all. That is the central idea of the

1073:), this variation has a strong melodic line, although the original theme is not obvious. Mid-way through each section echoes the rising sequence which occurred at a similar point in Diabelli's theme. In the second half, there is a remarkable pianissimo passage where the treble holds a chord for four full bars while the bass repeats a little three-note figure over and over, eight times, after which the melody proceeds as if nothing out of the ordinary had happened. 2398:(Tovey called it 'one of the most appallingly impressive passages ever written.') One reason is surely the sheer temporal weight of the thirty-two variations that precede it, lasting three-quarters of an hour in performance. At this moment there is finally a halt to the seemingly endless continuity of variations in an unprecedented gesture. But this still fails to explain the uncanny force of the chord progression modulating from E 1809:

is ambiguous. Suggesting the title "Oracle", von Bülow recommends "an effect suggestive of the veiled organ-registers". Kinderman writes, "In this great enigmatic slow variation, No. 20, we have reached the still centre of the work ... the citadel of 'inner peace'". Tovey calls it "one of the most awe-inspiring passages in music". Brendel describes this Variation 20 as "hypnotic introspection" and offers as a title

356:, completing sketches for four variations by early 1819. (Schindler was so far off the mark that he claimed, "At the most, he worked three months on it, during the summer of 1823". Carl Czerny, a pupil of Beethoven, claimed that "Beethoven wrote these Variations in a merry freak".) By the summer of 1819, he had completed twenty-three of the set of thirty-three. In February 1820, in a letter to the publisher 242:, the repeated notes – and build upon them pieces of great imagination, power and subtlety. Alfred Brendel wrote, "The theme has ceased to reign over its unruly offspring. Rather, the variations decide what the theme may have to offer them. Instead of being confirmed, adorned and glorified, it is improved, parodied, ridiculed, disclaimed, transfigured, mourned, stamped out and finally uplifted". 2304:. Tovey again uses superlatives: "The thirty-first variation is an extremely rich outpouring of highly ornamented melody, which to Beethoven's contemporaries must have been hardly intelligible, but which we, who have learnt from Bach that a great artist's feeling is often more profound where his expression is most ornate, can recognize for one of the most impassioned utterances in all music." 626: 1888:. The music is rather crudely humorous in style. Because Leporello is complaining that he has to "Work day and night", it is sometimes said that here Beethoven is grumbling about the labour he poured into these variations. It has been suggested, too, that Beethoven is trying to tell us that Diabelli's theme was stolen from Mozart. Brendel's title for this variation is 1850:

the highest to the lowest registers ruthlessly exaggerate features of Diabelli's theme. Tovey describes this variation as "startling", but points out that it follows Diabelli's melody clearly and "changes from quick common to slower triple time whenever it reproduces the sequential passages ... in the theme". Brendel's title for this variation is

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brink of utter motionlessness, providing a curtain to separate the fugue from the minuet." In describing the ending, commentators are often driven to superlatives. Gerald Abraham calls it "one of the strangest passages Beethoven ever wrote". Kinderman describes the transition as "one of the most magical moments in the work":

379:". It was probably in February 1823 that Beethoven returned to the task of completing the set. By March or April 1823, the full set of thirty-three variations was finished. By April 30 a copy was ready to send to Ries in London. Beethoven kept the original set of twenty-three in order, but inserted nos. 1 (the opening 2384:

The transition to the sublime minuet that forms the final variation is a series of quiet, greatly prolonged chords that achieve an extraordinary effect. In Solomon's words, "The thirty-third variation is introduced by a Poco adagio that breaks the fugue's agitated momentum and finally takes us to the

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Powerful, rhythmic chords, forte, each time followed by nearly two bars of silence, then a soft reply. "Eloquent pauses", in von Lenz's words. "Absurd silences", for Gerald Abraham. Barry Cooper sees it as a humorous piece, in which Beethoven "seems almost to poke fun at Diabelli's theme". Diabelli's

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Kinderman, on the other hand, whose researches among the Beethoven sketchbooks discovered that Variation 1 was inserted late into the work, deems it a "structural variation", echoing Diabelli more clearly than the non-structural variations and, in this case, parodying the weaknesses of the theme. Its

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Kinderman summarizes, "Diabelli's waltz is treated first ironically as a march that is half-stilted, half-impressive, and then, at crucial points in the form, twice recapitulated in amusing caricature variations. At the conclusion of the work, in the Fugue and last variation, reference to the melodic

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expresses this idea symbolically, as a journey from the everyday world ("Diabelli's theme conveys ideas, not only of the national, the commonplace, the humble, the rustic, the comic, but of the mother tongue, the earthly, the sensuous, and, ultimately, perhaps, of every waltzing couple under the sun"

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Diabelli's theme is a thirty-two bar waltz laid out in symmetrical four-bar phrases and is almost tuneless, as though both hands were playing accompaniments. Midway through each half the harmony becomes slightly adventurous. Beginning with a perky upbeat and peppered with unexpected off-beat accents,

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or 'cobbler's patch,' unworthy of his time. Not long afterwards, according to the story, upon learning that Diabelli would pay a handsome price for a full set of variations from him, Beethoven changed his mind and decided to show how much could be done with such slim materials. (In another version of

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spanning four and then five octaves. When the music comes to rest on this dissonant sonority, it is clear that we have reached the turning point, and are poised at a moment of great musical import. What accounts for the power of the following transition, which has so impressed musicians and critics?

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Simple chords in the right hand over a ceaseless, busy pattern in the left hand. Tovey notes that it reproduces the opening of each half of Diabelli's theme quite simply, although the rest is very free, adding that "as a reaction from the impressively thoughtful and calm fughetta it has an intensely

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An extreme contrast to the preceding Andante. The beginning, in Kinderman's analysis, of variations achieving "transcendence", evoking "the entire musical universe as Beethoven knew it". The accompanying chords repeated so many times at the start of each section and the repeated trills repeated from

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An extraordinarily slow-moving variation consisting almost entirely of dotted half notes in low registers – a striking contrast with the variations immediately before and after. Diabelli's melody is easily identified, but the harmonic progressions (see bars 9–12) are unusual and the overall tonality

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After the three loud, dramatic variations which precede it, this eighth variation offers relief and contrast in the form of a soft, strongly melodic piece, the melody moving at a stately pace in half- and dotted half-notes, with the bass providing a quiet accompaniment in the form of rising figures.

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Kinderman thus sees the work as falling into three sections, Variations 1–10, 11–24 and 25–33. Each section has a certain logic and ends with a clear break. Kinderman asserts that this large-scale structure effectively follows the sonata-allegro form of Exposition-Development-Recapitulation, or more

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We present here to the world Variations of no ordinary type, but a great and important masterpiece worthy to be ranked with the imperishable creations of the old Classics—such a work as only Beethoven, the greatest living representative of true art—only Beethoven, and no other, can produce. The most

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After the twenty-eighth variation has brought this stage of the work to an exhilarating close, Beethoven follows Bach's example .... at precisely the same stage (Variation 25) in the Goldberg Variations, and boldly chooses the point at which he shall enlarge our expectations of further developments

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The structure of this variation is similar to the one preceding, 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. The triplet pattern consisting of a semitone and a third is taken

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finger exercise (Var. 23). He also mentions allusions to Bach (Vars. 24 and 32) and Mozart (Var. 33). But the added, structural variations recall Diabelli's waltz, not Bach or Mozart or Cramer, and clearly highlight its most unimaginative aspects, especially its repetition of the C major tonic

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materials from the waltz are exploited exhaustively, its affective model is left far behind". The purpose of the new variations is to recall Diabelli's waltz so that the cycle does not spiral too far from its original theme. Without such a device, considering the great variety and complexity of the

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are followed by 33 variations as a crowning achievement, of which Var. 33 relates directly to the thirty-second's final adagio." And Brendel adds, whimsically, "There happens to be, between the 32 Variations in C minor and the sets Opp. 34 and 35, a numerical gap. The Diabelli Variations fills

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with its total of thirty-two pieces (two presentations of the theme and thirty variations). There is a story that Diabelli was pressing Beethoven to send him his contribution to the project, whereupon Beethoven asked, "How many contributions have you got?" "Thirty-two", said Diabelli. "Go ahead and

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Von Bülow comments, "We should like to style this number, thoughtful and tender alike, a renascence of the Bach Adagio, as the succeeding double fugue is one of the Handel Allegros. Conjoining to these the final Variations, which might be considered as a new birth, so to speak, of the Haydn-Mozart

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its mix of neutrality and quirkiness makes it a plastic, responsive object for Beethoven's scrutiny. He had a lifelong fascination with variations and here he works with the structure, the harmonies, and piquant details more than with the surface of the theme, keeping the melody little in evidence.

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The first of three slow variations, this appears to be the beginning of the end: "The composer transports us into a new, more earnest, even melancholy realm of feeling. It might be regarded as beginning the Adagio of this Variation-sonata; from this Adagio we are carried back, by the grand double

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Beethoven's first biographer, Anton Schindler, says—and for once I am inclined to believe him—that the composition of this work 'amused Beethoven to a rare degree', that it was written 'in a rosy mood', and that it was 'bubbling with unusual humour', disproving the belief that Beethoven spent his

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number fastened on an idea developed with great power by Beethoven, such as Beethoven's pupil, the Archduke Rudolph, in an excellent piece. Some produced contrapuntal treatment...; others applied chromatic harmony to the diatonic theme.... The variations by the famous piano virtuosos, especially

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It is profoundly characteristic of the way in which (as Diabelli himself seems partly to have grasped) this work develops and enlarges the great aesthetic principles of balance and climax embodied in the 'Goldberg' Variations, that it ends quietly. The freedom necessary for an ordinary climax on

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and stepwise figures. The switch at the halfway point from descending to ascending passages, a characteristic of the waltz faithfully preserved throughout the work, is seen here. These three final C major variations before the minor section have in common a textural distance from the waltz.

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who, in the previous year, under Beethoven's tutelage, had composed a huge set of forty variations on a theme by Beethoven. In a letter of 1819 to the Archduke, Beethoven mentions that "in my writing-desk there are several compositions that bear witness to my remembering Your Imperial Highness".

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Many of the variations are similar in method, since the composers were working in ignorance of one another and since piano virtuosity and variation techniques were widely taught according to familiar principles. Many composers contented themselves with a running figure decorating the theme... A

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were finished. Beethoven's Arietta from Op. 111 is not only in the same key as Diabelli's 'waltz', but also shares certain motivic and structural features, while the characters of the two themes could not be more disparate. One can hear the Arietta as yet another, more distant, offspring of the

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One of the last variations composed, Variation 15 is short and light, setting the stage for the following two loud virtuoso displays. For Barry Cooper, this is another humorous variation poking fun at Diabelli's theme. Tovey comments, "The fifteenth variation gives the whole melodic outline so

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time of the theme. This sharp break from Diabelli announces that the series will not consist of mere decorative variations on a theme. The first variation, according to Tovey, gives "emphatic proof that this is to be a very grand and serious work", describing it as "entirely solemn and grand in

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The first of the three added variations is No. 1, a "mock-heroic" march which immediately follows Diabelli to open the set dramatically, echoing in the right hand the tonic triad of the theme while the left hand simply walks down in octaves Diabelli's descending fourth. No. 2 even maintains the

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Technically, von Bülow admires in the closing four bars "the principle of modulation chiefly developed in the master's last creative period ... the successive step-wise progression of the several parts while employing enharmonic modulation as a bridge to connect even the remotest tonalities."

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From the earliest days writers have commented on the juxtaposition between the waltz's simplicity and the vast, complex musical structure Beethoven built upon it, and the widest possible range of opinions of Diabelli's theme have been expressed. At one end of the spectrum is the admiration of

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This is the first variation to have a minor key. Simple but powerful, Variation 9 is constructed out of the slimmest of materials, consisting of little more than Diabelli's opening grace-note and turn repeated in various registers. The direction is always ascending, building toward a climax.

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modern lines was secured already in the great fugue, placed, as it was, in a foreign key; and now Beethoven, like Bach, rounds off his work by a peaceful return home—a home that seems far removed from these stormy experiences through which alone such ethereal calm can be attained.

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in the left, while the seventeenth has the melody in the bass and the semiquavers above. These variations are so close to the surface of the theme that the amazingly distant keys touched on by their harmonies add only a sense of majesty and depth to the effect without producing

371:"Variations on a waltz for pianoforte alone (there are many)". In the autumn of the same year he was in negotiations with Diabelli, writing to him, "The fee for the Variat. should be 40 ducats at the most if they are worked out on as large a scale as planned, but if this should 1170:

This fifth variation is an exciting number with breathtaking rhythmic climaxes. For the first time in the series, there are elements of virtuosity, which will become more pronounced in the variations which immediately follow. Brendel's title for this variation is

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Ceaseless motion with many running fourths. Kinderman sees this variation as foreshadowing Number 20 because of the simple way it exposes the harmonic structure. Tovey points out that it is a development of No. 11. Brendel's title for this variation is

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octave scales. Tovey comments, "The tenth, a most exciting whirlwind of sound, reproduces all the sequences and rhythms of the theme so clearly that it seems much more like a melodic variation than it really is". Brendel's title for this variation is

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For Kinderman, parody is the key to the work. He points out that most of the variations do not emphasize the simple features of Diabelli's waltz: "Most of Beethoven's other variations thoroughly transform the surface of Diabelli's theme, and though

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Since the work was first published, commentators have tried to find patterns, even an overall plan or structure for this huge, diverse work, but little consensus has been reached. Several early writers sought to discover clear parallels with

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the legend, Beethoven was so insulted at being asked to work with material he considered beneath him that he wrote 33 variations to demonstrate his prowess.) Today, however, this story is taken as more legend than fact. Its origins are with

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Von Bülow sees this as the close of the third main division of the work: "This Variation ... must be hammered out with wellnigh raging impetuosity... More delicate shading would not be in place – at least in the First Part". (von Bülow)

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writes, "The variety of treatment is almost without parallel, so that the work represents a book of advanced studies in Beethoven's manner of expression and his use of the keyboard, as well as a monumental work in its own right". In his

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more surprisingly than ever before. He gives no less than three slow variations in the minor mode, producing an effect as weighty (even in proportion to the gigantic dimensions of the work) as that of a large slow movement in a sonata.

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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 fugue of Variation 32 is set apart by its foreign key,

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Brendel points out that as of 1819 there was a single C minor variation (No. 30) and that the late additions of Nos. 29 and 31 expanded the use of the key into "a larger C minor area". Brendel's title for this variation is

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Minuet, we possess, in these three Variations, a compendium of the whole history of music." The ending of this variation, an unresolved dominant seventh, leads naturally to the following fugue. Brendel's title for this variation is

3666: 2665:, are on the whole brilliant but shallow; for Liszt, then only 11, it was his first publication, and his piece is vigorous but hardly characteristic. Schubert's circle contributed some of the better pieces, including those by 1418:

Another variation built out of Diabelli's opening three notes, this one quiet and graceful. Kinderman points out how closely related Variations 11 and 12 are in structure. The opening of this variation appears in the movie

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publish them", Beethoven is purported to have replied, "I shall write thirty-three all by myself." Alfred Brendel observes, "In Beethoven's own pianistic output, the figures 32 and 33 have their special significance: 32

2381:. Eventually, the original two themes of the fugue burst out loudly again and the work races impetuously toward its final climax, a crashing chord and a grand sweep of arpeggios twice down and up the entire keyboard. 1670:, with accented octaves in the bass and ceaseless, hurried figures in the treble. For Tovey, "This brings the first half of the work to a brilliant climax". Brendel's title for this variation and the preceding one is 514:/ "cobbler's patch"), there is no doubt the definition fits the work perfectly – "musical sequences repeated one after another, each time modulated at like intervals" – as can be seen clearly in these three examples: 351:

At some point, Beethoven certainly did accept Diabelli's proposal, but rather than contributing a single variation on the theme, he planned a large set of variations. To begin work he laid aside his sketching of the

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Kinderman distinguishes several forms of "parody", pointing out several examples which have no special structural significance and which were composed in the earlier period, such as the humorous parody of the

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character is, for Kinderman, "pompous" and "mock-heroic". Alfred Brendel takes a view similar to Kinderman's, characterizing this variation as "serious but slightly lacking in brains". The title he offers is

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can mean not only "variations" but also "transformations", it is sometimes suggested that Beethoven was announcing that this work does something more profound than had hitherto been done in variation form.

1798: 802:, one of the most perceptive early commentators on Beethoven's music, Beethoven here shines as the 'most thoroughly initiated high priest of humour'; he calls the variations 'a satire on their theme'. 1582: 1486:

mild opening turn is turned into the powerful chords, and his repeated chords become a long silence. The sequence is ended with two soft, anti-climactic notes. Brendel's title for this variation is

1408: 1283: 1160: 592:, without great success. Others claimed to have found symmetries, three groups of nine, for example, although the penultimate Fugue had to be counted as five. The work has been analyzed in terms of 1711: 1055: 899: 1461:. Variation 12 is another divergence from Diabelli's two-part structure. The first part is unrepeated, while Beethoven writes out the repeat of the second part in full, making small changes. 2377:. About two thirds through, a fortissimo climax is reached and, following a pause, there begins a contrasting pianissimo section with a constantly hurrying figure serving as the third fugal 2492:

of the concluding variation, Beethoven speaks on his own behalf. He alludes to another supreme set of variations, that from his own last Sonata, Op. 111, which had been composed before the

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The oft-told but now questionable story of the origins of this work is that Beethoven at first refused categorically to participate in Diabelli's project, dismissing the theme as banal, a

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The storm of sound melts away, and, through one of the most ethereal and—I am amply justified in saying—appallingly impressive passages ever written, we pass quietly to the last variation

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Lyrical and beautiful, greatly contrasting with the preceding variation, an allusion to Bach. Tovey describes this variation as "a wonderfully delicate and mysterious web of sounds on a

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as the theme of the sonata written by the copyist that Beethoven first ridicules then later, to redeem himself, begins to work on more seriously. Brendel's title for this variation is

275:. Coming at this late point, after such a long period in C major, the key-change has an increased dramatic effect. At the end of the fugue, a culminating flourish consisting of a 360:, he mentioned "grand variations", as yet incomplete. Then he laid the work aside for several years – something Beethoven rarely did – while he returned to the Missa solemnis and the 1789: 2501:

Solomon describes the closing bars as "the final image – of a tender, songful, profound nostalgia, a vantage point from which we can review the purposes of the entire journey."

348:, Beethoven's unreliable biographer, whose account conflicts in a number of ways with several established facts, indicating that he did not have first-hand knowledge of events. 1573: 1399: 1274: 1151: 3834: 2552: 1920:(whom Beethoven did admire as a pianist, if not as a composer). Tovey refers to its "orchestral brilliance and capricious rhythm". Brendel's title for this variation is 1593:

closely that its extraordinary freedom of harmony (the first half actually closes in the tonic) produces no effect of remoteness." Brendel's title for this variation is

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suggested partly by the treble and partly by the bass of the first four bars of the theme. Acting on a hint given him by the second half of Diabelli's theme, Beethoven

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The steady rise in drama since Variation 2 reaches a high point in this variation. Here the excitement is brought front and centre, both halves of the piece racing in

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Czerny, Carl, "On the Proper Performance of All Beethoven's Works for the Piano: Edited and with a Commentary by Paul Badura-Skoda", Universal Editions, 1970, p. 74

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For von Bülow, another virtuoso variation to close what he views as the second main division of the work. For Kinderman, a parody of finger exercises published by

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While Beethoven's first variation stays close to the melody of Diabelli's theme, there is nothing waltz-like about it. It is a strong, heavily accented march in

498:, a bigger wretch I never knew on God's earth—an arch-scoundrel whom I have sent about his business—I can dedicate another work to your wife in place of it ..." 2452: 2340: 2273: 2222: 1957: 1518: 820: 1710: 1054: 898: 1076:

This was the first variation in Beethoven's original plan. From the earliest sketchbooks, Beethoven kept it together with the following Variation 4. Both use

3854: 1358:

Traditionally viewed as the close of a main division of the work, Variation 10 is the most brilliant of all the variations, a break-neck presto with trills,

2460: 2348: 2281: 2230: 1965: 1526: 828: 548:("quite a pretty and tasteful little piece, protected from the dangers of obsolescence by what one might call its melodic neutrality"). At the other end is 2629: 3631: 391: 308: 3839: 3635: 326: 854:. Alfred Brendel's suggested title for Diabelli's theme, in his essay "Must Classical Music be Entirely Serious?", making the case for viewing the 332:

Beethoven had had a connection with Diabelli for a number of years. About a slightly earlier period, 1815, Beethoven's authoritative biographer,

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in the treble make for a brilliant, dramatic effect. Kinderman goes so far as to describe it as "harsh". Brendel's title for this variation is

279:

is followed by a series of quiet chords punctuated by silences. These chords lead back to Diabelli's C major for Variation 33, a closing

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time after the preceding march, it echoes little of Diabelli's theme. It is delicate, with a hushed, tense atmosphere. The only markings are

398:

Several theories have been advanced on why he decided to write thirty-three variations. He might have been trying to outdo himself after his

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set, Diabelli's waltz would become superfluous, "a mere prologue to the whole." Parody is used because of the banality of Diabelli's theme.

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The same applies to the large block of two variations, sixteen and seventeen, of which the sixteenth has the melody in the right hand and

446:("Grand Variations on a well-known German dance"). Upon first publication, however, the title referred explicitly to a waltz by Diabelli: 426: 313: 181: 2190:, the general character of which receives its seal in the graceful Minuetto-Finale". (von Bülow) Brendel's title for this variation is 1932: 1900: 1862: 1769: 1737: 1682: 1618: 1553: 1498: 1469: 291:

In early 1819 Diabelli, a well-known music publisher and composer, sent a waltz of his creation to all the important composers of the

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The themes are presented in a variety of harmonies, contexts, lights and shades, and by using the traditional fugal techniques of

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The title Beethoven gave to the work has received some comment. His first reference was in his correspondence, where he called it

3849: 564: 662: 3725: 3720: 2301: 1985: 1014:. Beethoven diverges from Diabelli's structure of two equal parts, each one repeated, by omitting a repeat for the first part. 3730: 3680: 2613: 647: 361: 669: 390:

One suggestion on what prompted Beethoven to write a set of "grand variations" on Diabelli's theme is the influence of the

3792: 1235: 311:, asking each of them to write a variation on it. His plan was to publish all the variations in a patriotic volume called 3687: 3640: 2682: 211: 1638:, with trills and ascending and descending broken octaves. Brendel's title for this variation and the following one is 3645: 3512: 1984:

this in the second half of the fughetta." Kinderman compares it with the concluding fugue in the last movement of the

490:", she was not Beethoven's first choice. His original plan was to have the work sent to England where his old friend, 676: 3844: 3804: 3594: 1995: 353: 636: 3815: 1199:

Both this and the following variations are brilliant, exciting, virtuoso pieces. This sixth variation features a

1006:, the treble and bass rapidly alternating throughout the entire piece. Near the end, the tension is increased by 415:

Diabelli published the work quickly as Op. 120 in June of the same year, adding the following introductory note:

333: 850:, was never intended for dancing. By this time, the waltz was no longer merely a dance but had become a form of 658: 506:

Whether Schindler's story is true or not that Beethoven at first contemptuously dismissed Diabelli's waltz as a

430:, the second volume comprising the 50 variations by 50 other composers. Subsequent editions no longer mentioned 38: 2390: 1924:. He characterizes Nos. 23, 27 and 28 as "one-track minds in an excited state", suggesting an ironic approach. 540:("healthy, unaffected, and drily energetic", "rich in solid musical facts", cast in "reinforced concrete") and 276: 2678: 2119:. He suggests an ironic approach, characterizing Nos. 23, 27 and 28 as "one-track minds in an excited state". 2670: 1854:. Uhde groups Nos. 21–28 as the "scherzo group", with the tender Fughetta (No. 24) standing in as a "trio". 752: 3798: 975:

This variation was not part of Beethoven's first series but was added somewhat later. While it returns to

2686: 2642: 1917: 762: 583: 304: 3672: 3704: 168: 30: 3650: 588: 187: 544:("pellucid, brave, utterly lacking in sentimentality or affectation") and the kindly tolerance of 461:, in a period when he preferred using the German language in expression marks and titles, such as 2662: 2650: 1116:. The driving rhythm emphasizes the third beat of the bar. Brendel's title for this variation is 683: 556: 246: 88: 2081:

This variation is a deconstruction of the theme, consisting entirely of three-note broken triad

1334:. Like Variation No. 1, he characterizes it as "deeply serious but slightly lacking in brains". 3311:, G. Schirmer. Further references to Von Bulow are to this edition, unless otherwise indicated. 3768: 3747: 3712: 3616: 3576: 3555: 3547: 3522: 3499: 3442: 3434: 3276: 3268: 2933: 2925: 2788: 2780: 2599: 2539: 2370: 1981: 1421: 723: 549: 545: 220: 203: 160: 2674: 2609: 2604: 2583: 2579: 2293: 847: 843: 799: 487: 483: 357: 1753:

Fast and busy, in sharp contrast to the variation which follows. Von Bülow points out "the

227:"in respect of its harmony, deserves to be called the most adventurous work by Beethoven". 3568: 2654: 2378: 2000:", both of which were composed in this same period. Brendel's title for this variation is 604: 541: 495: 345: 318: 292: 202:

has described it as "the greatest of all piano works". It also comprises, in the words of

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points out that the rosalia has been used effectively by great composers, as in Handel's

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Public Domain sheet music of Franz Schubert's Variation on a Waltz by Diabelli at IMSLP

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from the rosalias at measures 8–12 of the theme. Brendel's title for this variation is

2082: 1977: 1015: 790: 491: 368: 296: 254: 235: 199: 176: 126: 102: 2673:, though Schubert's own C minor variation is greatly superior. The variations by 1721:

Another variation using the opening turn in Diabelli's waltz, this time with a quiet (

567:

attempts to pinpoint what Beethoven might have found appealing in the theme, writing:

3828: 3535: 2737:"Beethoven's Diabelli Variations: the finest hour of piano music in the world Page 2" 2534: 1754: 1200: 1080:, and the transition between them is seamless. Brendel's title for this variation is 739: 560: 380: 239: 231: 172: 98: 3646:

Public Domain sheet music of Franz Liszt's Variation on a Waltz by Diabelli at IMSLP

383:), 2, 15, 23 (sometimes called a parody of a Cramer finger exercise), 24 (a lyrical 3589: 2527: 2508: 2489: 2431: 2319: 2252: 2201: 2168: 2126: 2097: 2063: 2011: 1931: 1899: 1884: 1861: 1824: 1768: 1736: 1681: 1649: 1617: 1552: 1497: 1468: 1439: 1378: 1341: 1312: 1253: 1218: 1182: 1130: 1091: 1077: 1025: 958: 869: 757: 537: 325:

was not included, but it seems his teacher Czerny arranged for him to also provide

266: 195: 3736: 424:

In the following year, 1824, it was republished as Volume 1 of the two-volume set

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and hurried figures in the opposite hand. Brendel's title for this variation is

1007: 862:. Commentators do not agree on the intrinsic musical value of Diabelli's theme. 625: 593: 322: 300: 150: 59: 3516: 1605: 1300: 1119: 766:

chord with G emphasized as the high note and the static harmony thus created.

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Although some commentators find significance in the work's dedication to Mme.

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is to take some of its smallest elements – the opening turn, the descending

253:

for most of the set: among the first twenty-eight variations, he uses the

2524:

Dialogue avec 33 variations de L. van Beethoven sur une valse de Diabelli

2497:'waltz', and marvel at the inspirational effect of the 'cobbler's patch'. 1363: 1204: 384: 257:

only once, in Variation 9. Then, nearing the conclusion, Beethoven uses

2394: 2374: 1757:

dialogue between the two parts". Brendel's title for this variation is

1359: 650: in this section. Unsourced material may be challenged and removed. 258: 250: 52: 3476:

ed. Stanley Sadie, Macmillan Publishers Limited, 1980, Vol. 5, p. 414.

1725:), almost meditative character. Brendel's title for this variation is 2575: 1879: 1239: 731: 408: 280: 1817:. Diabelli's two-part structure is maintained, but without repeats. 198:

called it "the greatest set of variations ever written" and pianist

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Allegro molto, alla « Notte e giorno faticar » di Mozart

1010:. Brendel suggests the delicacy of this variation by entitling it 262: 164: 1666:

This is the second march after the opening variation, most of it

2297: 1298:("sweetly and tenderly"). Brendel's title for this variation is 835:

The performer of the audio files in this article is Neal O'Doan.

748: 3676: 3457: 3455: 3374: 3372: 3370: 3368: 3247: 3245: 3243: 3241: 3239: 3237: 3496:

Music Sounded Out: Essays, Lectures, Interviews, Afterthoughts

619: 317:, and to use the profits to benefit orphans and widows of the 3291: 3289: 1994:

and to the mood of "certain quiet devotional passages in the

3521:, Master Musicians Series, Oxford: Oxford University Press, 2186:

fugue, Variation 32, into the original bright sphere of the

1018:, in his famous recording, repeated the first part anyway. 2312:. The structure is a foreshortening of Diabelli's theme. 2245:. There are only hints of Diabelli's two-part structure. 2404: major to the tonic C major of the Finale ..." 2052:

humorous effect". Brendel's title for this variation is

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Brendel, Alfred, "Beethoven's Diabelli Variations", in

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Große Veränderungen über einen bekannten Deutschen Tanz

2594:. While it can be a simple, unimaginative device, the 3651:

Score of Mozart's aria "Notte e giorno faticar" from

552:'s contempt ("banal", "trite", "a beer hall waltz"). 2542:, explores the story of the variations' composition. 1878:

A reference to Leporello's aria in the beginning of

486:, offering it as evidence that she was Beethoven's " 261:

for Variations 29–31 and for Variation 32, a triple

179:. It forms the first part of Diabelli's publication 3778: 3746: 3711: 133: 108: 94: 84: 68: 58: 48: 21: 2608:("King of Kings"), the first movement of Mozart's 1600:Tovey gives a similar analysis of the variations: 722:The most influential writing on the work today is 3309:Ludwig van Beethoven: Variations For Piano Book 2 3142: 3140: 2633:describes the work by other composers as follows: 2553:List of variations on a theme by another composer 2296:and trills, there are many similarities with the 367:In June 1822, Beethoven offered to his publisher 3474:The New Grove Dictionary of Music and Musicians, 2408:Tovey's description of this dramatic moment is: 2638: 2486: 2473: 2410: 2387: 2149: 1602: 924:time, greatly differing from the character and 795: 609:The Late Beethoven: Music, Thought, Imagination 569: 448:33 Veränderungen über einen Walzer von Diabelli 417: 1209:Trill rhetorics (Demosthenes braving the surf) 3688: 1211:. Wilhelm von Lenz called it "In the Tyrol". 8: 3413: 3411: 3573:Late Beethoven: Music, Thought, Imagination 2852: 2850: 798:late years in complete gloom. According to 3695: 3681: 3673: 146:33 Variations on a waltz by Anton Diabelli 37: 18: 3636:International Music Score Library Project 3390: 3359: 3332: 3320: 3228: 3216: 3204: 3158: 3107: 3095: 3059: 3047: 2998: 2963:Alfred Brendel on Music: Collected Essays 1922:The virtuoso at boiling-point (to Cramer) 710:Learn how and when to remove this message 245:Beethoven does not seek variety by using 16:Piano composition by Ludwig van Beethoven 3835:Piano variations by Ludwig van Beethoven 2872:, Oxford University Press, 1995, p. 212. 2725:, Oxford University Press, 1995, p. 211. 3498:, New York: Farrar, Straus and Giroux, 3417: 3347: 3192: 3177: 3131: 3119: 3083: 3071: 2986: 2949: 2841: 2702: 206:, "a microcosm of Beethoven's art". In 3295: 3023: 2905: 2893: 2881: 2829: 2817: 2480:Brendel's title for this variation is 2420:Brendel's title for this variation is 2086:Brendel's title for this variation is 1890:‘Notte e giorno faticar’ (to Diabelli) 1330:Brendel's title for this variation is 457:rather than the usual Italian-derived 329:, which he composed at the age of 11. 3461: 3402: 3378: 3251: 3146: 3035: 2974: 2709: 946:March: gladiator, flexing his muscles 7: 3667:Beethoven House Bon: digital archive 3620:by William Kinderman. Online version 2924:, W. W. Norton & Company, 2005, 2764:Beethoven: The Last Decade 1817–1827 1203:in nearly every bar set off against 648:adding citations to reliable sources 208:Beethoven: The Last Decade 1817–1827 3855:Composer tributes (classical music) 3433:, Oxford University Press, Oxford, 2808:, a capella, Chicago, 2001, p. 114. 950:The Mastodon and the Theme—a fable. 3655:. Compare with Variation 22 above. 3575:, University of California Press, 14: 3840:Collaborations in classical music 2922:Beethoven: The Music And The Life 2735:Atkinson, John (1 October 2006). 2582:repeated one step, or some fixed 2526:, a 1971 dialogue between writer 1238:octaves in the bass hand against 167:written between 1819 and 1823 by 2965:, A Cappella Books, 2000, p. 121 2766:, Oxford University Press, 1985. 2507: 2457: 2430: 2345: 2318: 2278: 2251: 2227: 2200: 2167: 2125: 2096: 2062: 2037: 2010: 1962: 1930: 1898: 1860: 1823: 1794: 1767: 1735: 1707: 1680: 1648: 1616: 1578: 1551: 1523: 1496: 1467: 1438: 1404: 1377: 1340: 1311: 1279: 1252: 1217: 1181: 1156: 1129: 1090: 1051: 1024: 957: 895: 868: 825: 624: 527: 518: 453:Beethoven chose the German word 3703:Compositions for solo piano by 3618:Beethoven's Diabelli Variations 3552:Beethoven's Diabelli Variations 3265:The Age of Beethoven, 1790–1830 3010:For example, Solomon, Maynard, 2777:Structural Functions of Harmony 1727:Precious memory, slightly faded 1194:Allegro ma non troppo e serioso 1112:toward a pair of chords marked 842:Diabelli's theme, a waltz with 728:Beethoven's Diabelli Variations 635:needs additional citations for 217:Structural Functions of Harmony 2779:, W. W. Norton & Company, 2623: 2590:, named after an Italian song 2569: 761:(Var. 22) and the parody of a 432:Vaterländischer Künstlerverein 427:Vaterländischer Künstlerverein 314:Vaterländischer Künstlerverein 182:Vaterländischer Künstlerverein 1: 948:. Wilhelm von Lenz called it 846:accents and sharp changes in 400:32 Variations in C minor 153:. 120, commonly known as the 3542:, Princeton University Press 2192:Stifled sighs (Konrad Wolff) 2159:The rage of the jumping-jack 1082:Confidence and nagging doubt 1002:. It moves in eighth notes, 402:, or trying to outdo Bach's 230:Beethoven's approach to the 3860:Works based on Don Giovanni 3554:, Oxford: Clarendon Press, 3267:, Oxford University Press, 2612:and the finale of Mozart's 277:diminished seventh arpeggio 3876: 3595:Essays in Musical Analysis 3540:Thayer's Life of Beethoven 2586:, higher. Also known as a 2443:Tempo di Menuetto moderato 1543:Here He Cometh, the Chosen 1537:The first slow variation, 1324:Allegro pesante e risoluto 249:, staying with Diabelli's 3813: 3669:, includes early editions 3599:, Oxford University Press 2683:Johann Baptist Gänsbacher 2596:Grove Dictionary of Music 2393:by a kind of arpeggiated 2389:Beethoven emphasizes the 2292:Deeply felt, filled with 2213:Andante, sempre cantabile 334:Alexander Wheelock Thayer 36: 28: 3756:32 Variations in C minor 2391:diminished-seventh chord 2054:Teutscher (German dance) 3850:Compositions in C major 2806:Alfred Brendel On Music 2679:Franz Jakob Freystädler 2482:To Mozart; to Beethoven 2264:Largo, molto espressivo 858:as a humorous work, is 43:Theme of the Variations 3799:Rage Over a Lost Penny 2691: 2499: 2478: 2414: 2406: 2154: 1634:A virtuoso variation, 1611: 1332:Industrious nutcracker 1244:Sniveling and stamping 804: 574: 422: 375:, it would be set for 3590:Tovey, Donald Francis 2687:Johann Baptist Schenk 2643:Friedrich Kalkbrenner 2302:Piano Sonata, Op. 111 1918:Johann Baptist Cramer 1369:Giggling and neighing 659:"Diabelli Variations" 584:Johann Sebastian Bach 501: 305:Johann Nepomuk Hummel 3705:Ludwig van Beethoven 3431:The Age of Beethoven 2868:Kinderman, William, 2775:Schoenberg, Arnold, 2721:Kinderman, William, 2671:Anselm Hüttenbrenner 2614:String Quartet K.575 2180:Adagio ma non troppo 2088:Circles on the Water 1703:Variations 18 and 19 881:Alla marcia maestoso 644:improve this article 616:By William Kinderman 484:Antonie von Brentano 169:Ludwig van Beethoven 127:Cappi & Diabelli 31:Ludwig van Beethoven 3762:Diabelli Variations 3726:Bagatelles, Op. 126 3721:Bagatelles, Op. 119 3632:Diabelli Variations 2494:Diabelli Variations 2310:To Bach (to Chopin) 1296:dolce e teneramente 1230:Un poco più allegro 856:Diabelli Variations 776:Diabelli Variations 589:Goldberg Variations 404:Goldberg Variations 225:Diabelli Variations 188:Goldberg Variations 156:Diabelli Variations 23:Diabelli Variations 3731:Bagatelles, Op. 33 3548:Kinderman, William 2689:are also striking. 2663:Maximilian Stadler 2651:Johann Peter Pixis 1813:. Liszt called it 1430:Innocente' (Bülow) 1103:Un poco più vivace 1047:Variations 3 and 4 891:Variations 1 and 2 600:By Maynard Solomon 557:Vladimir Ashkenazy 555:In liner notes to 362:late piano sonatas 3845:1823 compositions 3822: 3821: 3793:Polonaise, Op. 89 3769:Eroica Variations 3429:Abraham, Gerald, 3405:, pp. 131–32 3323:, pp. 102–03 3307:Von Bulow, Hans, 3263:Abraham, Gerald, 3038:, pp. 125–27 3026:, pp. 855–56 2977:, pp. 124–25 2961:Brendel, Alfred, 2938:978-0-393-32638-3 2896:, pp. 853–54 2793:978-0-393-00478-6 2600:Hallelujah Chorus 2592:Rosalia, mia cara 2538:, a 2007 play by 2462: 2350: 2283: 2232: 2042: 1967: 1852:Maniac and moaner 1799: 1712: 1583: 1564:Presto scherzando 1528: 1488:Aphorism (biting) 1422:Copying Beethoven 1409: 1284: 1161: 1056: 900: 830: 786:By Alfred Brendel 724:William Kinderman 720: 719: 712: 694: 565:Michael Steinberg 550:William Kinderman 265:, he switches to 221:Arnold Schoenberg 194:The music writer 141: 140: 3867: 3697: 3690: 3683: 3674: 3634:: Scores at the 3600: 3585: 3569:Solomon, Maynard 3564: 3543: 3531: 3508: 3477: 3471: 3465: 3459: 3450: 3427: 3421: 3415: 3406: 3400: 3394: 3388: 3382: 3376: 3363: 3357: 3351: 3345: 3336: 3330: 3324: 3318: 3312: 3305: 3299: 3293: 3284: 3261: 3255: 3249: 3232: 3226: 3220: 3214: 3208: 3202: 3196: 3190: 3181: 3175: 3162: 3156: 3150: 3144: 3135: 3129: 3123: 3117: 3111: 3110:, pp. 84–85 3105: 3099: 3093: 3087: 3081: 3075: 3069: 3063: 3057: 3051: 3045: 3039: 3033: 3027: 3021: 3015: 3008: 3002: 3001:, pp. 19–20 2996: 2990: 2989:, pp. 18–19 2984: 2978: 2972: 2966: 2959: 2953: 2947: 2941: 2915: 2909: 2903: 2897: 2891: 2885: 2879: 2873: 2866: 2857: 2854: 2845: 2844:, pp. 11–12 2839: 2833: 2827: 2821: 2815: 2809: 2802: 2796: 2773: 2767: 2762:Cooper, Martin, 2760: 2754: 2753: 2751: 2749: 2732: 2726: 2719: 2713: 2707: 2675:Joseph Drechsler 2630:Grove Dictionary 2627: 2610:Jupiter Symphony 2573: 2511: 2471:Tovey comments: 2464: 2463: 2434: 2403: 2402: 2365: 2364: 2352: 2351: 2322: 2285: 2284: 2255: 2234: 2233: 2204: 2171: 2129: 2100: 2066: 2044: 2043: 2033:Variations 25–29 2014: 1991: 1990: 1969: 1968: 1934: 1902: 1864: 1836:Allegro con brio 1827: 1801: 1800: 1790:Variations 20–23 1771: 1739: 1714: 1713: 1684: 1652: 1620: 1585: 1584: 1574:Variations 15–17 1555: 1539:grave e maestoso 1530: 1529: 1509:Grave e maestoso 1500: 1471: 1451:Un poco più moto 1442: 1429: 1411: 1410: 1400:Variations 11–13 1381: 1344: 1315: 1286: 1285: 1256: 1221: 1185: 1163: 1162: 1133: 1094: 1058: 1057: 1028: 997: 989: 988: 987: 986: 961: 938: 937: 936: 935: 923: 922: 921: 920: 902: 901: 872: 832: 831: 821:Diabelli's theme 800:Wilhelm von Lenz 715: 708: 704: 701: 695: 693: 652: 628: 620: 531: 522: 502:Diabelli's theme 488:Immortal Beloved 392:Archduke Rudolph 309:Archduke Rudolph 272: 271: 223:writes that the 125: 124: 120: 118: 79: 77: 41: 19: 3875: 3874: 3870: 3869: 3868: 3866: 3865: 3864: 3825: 3824: 3823: 3818: 3809: 3774: 3742: 3707: 3701: 3663: 3661:Other resources 3628: 3613: 3608: 3603: 3597:: Chamber Music 3588: 3583: 3567: 3562: 3546: 3534: 3529: 3511: 3506: 3492:Brendel, Alfred 3490: 3486: 3481: 3480: 3472: 3468: 3460: 3453: 3449:, 1982, p. 353. 3428: 3424: 3416: 3409: 3401: 3397: 3389: 3385: 3377: 3366: 3358: 3354: 3346: 3339: 3331: 3327: 3319: 3315: 3306: 3302: 3294: 3287: 3283:, 1982, p. 352. 3262: 3258: 3250: 3235: 3227: 3223: 3215: 3211: 3203: 3199: 3191: 3184: 3176: 3165: 3157: 3153: 3145: 3138: 3130: 3126: 3118: 3114: 3106: 3102: 3094: 3090: 3082: 3078: 3070: 3066: 3058: 3054: 3046: 3042: 3034: 3030: 3022: 3018: 3009: 3005: 2997: 2993: 2985: 2981: 2973: 2969: 2960: 2956: 2948: 2944: 2918:Lockwood, Lewis 2916: 2912: 2904: 2900: 2892: 2888: 2880: 2876: 2867: 2860: 2855: 2848: 2840: 2836: 2828: 2824: 2816: 2812: 2803: 2799: 2774: 2770: 2761: 2757: 2747: 2745: 2734: 2733: 2729: 2720: 2716: 2708: 2704: 2699: 2694: 2655:Ignaz Moscheles 2622: 2568: 2561: 2549: 2520: 2469: 2468: 2467: 2466: 2465: 2458: 2455: 2446: 2400: 2399: 2362: 2361: 2357: 2356: 2355: 2354: 2353: 2346: 2343: 2334: 2290: 2289: 2288: 2287: 2286: 2279: 2276: 2267: 2239: 2238: 2237: 2236: 2235: 2228: 2225: 2216: 2183: 2141: 2112: 2079: 2073:Variation 26: ( 2049: 2048: 2047: 2046: 2045: 2038: 2035: 2026: 1988: 1987: 1974: 1973: 1972: 1971: 1970: 1963: 1960: 1951: 1914: 1876: 1847: 1806: 1805: 1804: 1803: 1802: 1795: 1792: 1783: 1751: 1719: 1718: 1717: 1716: 1715: 1708: 1705: 1696: 1664: 1632: 1590: 1589: 1588: 1587: 1586: 1579: 1576: 1567: 1535: 1534: 1533: 1532: 1531: 1524: 1521: 1512: 1483: 1454: 1427: 1416: 1415: 1414: 1413: 1412: 1405: 1402: 1393: 1356: 1327: 1294:The marking is 1291: 1290: 1289: 1288: 1287: 1280: 1277: 1275:Variations 8–10 1268: 1233: 1197: 1168: 1167: 1166: 1165: 1164: 1157: 1154: 1145: 1106: 1063: 1062: 1061: 1060: 1059: 1052: 1049: 1040: 1037:L’istesso tempo 991: 985: 980: 979: 978: 977: 976: 973: 934: 929: 928: 927: 926: 925: 919: 914: 913: 912: 911: 910: 907: 906: 905: 904: 903: 896: 893: 884: 840: 839: 838: 837: 836: 833: 826: 823: 814: 809: 788: 716: 705: 699: 696: 653: 651: 641: 629: 618: 605:Maynard Solomon 602: 579: 542:Maynard Solomon 504: 480: 440: 346:Anton Schindler 319:Napoleonic Wars 293:Austrian Empire 289: 269: 268: 122: 116: 114: 112: 75: 73: 44: 29:Piano music by 17: 12: 11: 5: 3873: 3871: 3863: 3862: 3857: 3852: 3847: 3842: 3837: 3827: 3826: 3820: 3819: 3814: 3811: 3810: 3808: 3807: 3805:Rondos, Op. 51 3802: 3795: 3790: 3787:Andante favori 3782: 3780: 3776: 3775: 3773: 3772: 3765: 3758: 3752: 3750: 3744: 3743: 3741: 3740: 3733: 3728: 3723: 3717: 3715: 3709: 3708: 3702: 3700: 3699: 3692: 3685: 3677: 3671: 3670: 3662: 3659: 3658: 3657: 3648: 3643: 3638: 3627: 3624: 3623: 3622: 3612: 3609: 3607: 3606:External links 3604: 3602: 3601: 3586: 3581: 3565: 3560: 3544: 3538:, ed. (1967), 3536:Forbes, Elliot 3532: 3527: 3509: 3504: 3487: 3485: 3482: 3479: 3478: 3466: 3451: 3422: 3407: 3395: 3391:Kinderman 1987 3383: 3364: 3360:Kinderman 1987 3352: 3337: 3333:Kinderman 1987 3325: 3321:Kinderman 1987 3313: 3300: 3285: 3256: 3233: 3229:Kinderman 1987 3221: 3217:Kinderman 1987 3209: 3205:Kinderman 1987 3197: 3182: 3163: 3159:Kinderman 1987 3151: 3136: 3124: 3112: 3108:Kinderman 1987 3100: 3096:Kinderman 1987 3088: 3076: 3064: 3060:Kinderman 1987 3052: 3048:Kinderman 1987 3040: 3028: 3016: 3003: 2999:Kinderman 1987 2991: 2979: 2967: 2954: 2942: 2910: 2898: 2886: 2874: 2858: 2846: 2834: 2822: 2810: 2797: 2795:, 1969, p. 91. 2768: 2755: 2727: 2714: 2701: 2700: 2698: 2695: 2693: 2692: 2667:Ignaz Assmayer 2659:Joseph Gelinek 2635: 2634: 2617: 2562: 2560: 2557: 2556: 2555: 2548: 2545: 2544: 2543: 2540:Moisés Kaufman 2531: 2530:and Beethoven. 2519: 2518:Works inspired 2516: 2515: 2514: 2513: 2512: 2456: 2451: 2450: 2449: 2448: 2447: 2445: 2441:Variation 33: 2439: 2438: 2437: 2436: 2435: 2344: 2339: 2338: 2337: 2336: 2335: 2333: 2329:Variation 32: 2327: 2326: 2325: 2324: 2323: 2277: 2272: 2271: 2270: 2269: 2268: 2266: 2262:Variation 31: 2260: 2259: 2258: 2257: 2256: 2226: 2221: 2220: 2219: 2218: 2217: 2215: 2211:Variation 30: 2209: 2208: 2207: 2206: 2205: 2182: 2178:Variation 29: 2176: 2175: 2174: 2173: 2172: 2147:Tovey writes: 2140: 2136:Variation 28: 2134: 2133: 2132: 2131: 2130: 2111: 2107:Variation 27: 2105: 2104: 2103: 2102: 2101: 2078: 2071: 2070: 2069: 2068: 2067: 2036: 2031: 2030: 2029: 2028: 2027: 2025: 2021:Variation 25: 2019: 2018: 2017: 2016: 2015: 1997:Missa Solemnis 1961: 1956: 1955: 1954: 1953: 1952: 1950: 1941:Variation 24: 1939: 1938: 1937: 1936: 1935: 1913: 1909:Variation 23: 1907: 1906: 1905: 1904: 1903: 1875: 1871:Variation 22: 1869: 1868: 1867: 1866: 1865: 1846: 1834:Variation 21: 1832: 1831: 1830: 1829: 1828: 1793: 1788: 1787: 1786: 1785: 1784: 1782: 1778:Variation 20: 1776: 1775: 1774: 1773: 1772: 1759:Helter-skelter 1750: 1746:Variation 19: 1744: 1743: 1742: 1741: 1740: 1706: 1701: 1700: 1699: 1698: 1697: 1695: 1691:Variation 18: 1689: 1688: 1687: 1686: 1685: 1663: 1659:Variation 17: 1657: 1656: 1655: 1654: 1653: 1631: 1627:Variation 16: 1625: 1624: 1623: 1622: 1621: 1595:Cheerful Spook 1577: 1572: 1571: 1570: 1569: 1568: 1566: 1562:Variation 15: 1560: 1559: 1558: 1557: 1556: 1522: 1517: 1516: 1515: 1514: 1513: 1511: 1507:Variation 14: 1505: 1504: 1503: 1502: 1501: 1482: 1478:Variation 13: 1476: 1475: 1474: 1473: 1472: 1453: 1449:Variation 12: 1447: 1446: 1445: 1444: 1443: 1403: 1398: 1397: 1396: 1395: 1394: 1392: 1388:Variation 11: 1386: 1385: 1384: 1383: 1382: 1355: 1351:Variation 10: 1349: 1348: 1347: 1346: 1345: 1326: 1320: 1319: 1318: 1317: 1316: 1278: 1273: 1272: 1271: 1270: 1269: 1267: 1261: 1260: 1259: 1258: 1257: 1232: 1226: 1225: 1224: 1223: 1222: 1196: 1190: 1189: 1188: 1187: 1186: 1155: 1152:Variations 5–7 1150: 1149: 1148: 1147: 1146: 1144: 1142:Allegro vivace 1138: 1137: 1136: 1135: 1134: 1105: 1099: 1098: 1097: 1096: 1095: 1050: 1045: 1044: 1043: 1042: 1041: 1039: 1033: 1032: 1031: 1030: 1029: 1016:Artur Schnabel 981: 972: 966: 965: 964: 963: 962: 930: 915: 894: 889: 888: 887: 886: 885: 883: 877: 876: 875: 874: 873: 834: 824: 819: 818: 817: 816: 815: 813: 810: 808: 807:The variations 805: 791:Alfred Brendel 787: 784: 718: 717: 632: 630: 623: 617: 614: 601: 598: 578: 575: 546:Hans von Bülow 533: 532: 525: 523: 503: 500: 492:Ferdinand Ries 479: 476: 439: 436: 373:not take place 354:Missa solemnis 297:Franz Schubert 288: 285: 204:Hans von Bülow 200:Alfred Brendel 177:Anton Diabelli 159:, is a set of 139: 138: 135: 131: 130: 113:June 1823 110: 106: 105: 103:Anton Diabelli 96: 92: 91: 86: 82: 81: 70: 66: 65: 62: 56: 55: 50: 46: 45: 42: 34: 33: 26: 25: 15: 13: 10: 9: 6: 4: 3: 2: 3872: 3861: 3858: 3856: 3853: 3851: 3848: 3846: 3843: 3841: 3838: 3836: 3833: 3832: 3830: 3817: 3816:Piano sonatas 3812: 3806: 3803: 3801: 3800: 3796: 3794: 3791: 3789: 3788: 3784: 3783: 3781: 3777: 3771: 3770: 3766: 3764: 3763: 3759: 3757: 3754: 3753: 3751: 3749: 3745: 3739: 3738: 3734: 3732: 3729: 3727: 3724: 3722: 3719: 3718: 3716: 3714: 3710: 3706: 3698: 3693: 3691: 3686: 3684: 3679: 3678: 3675: 3668: 3665: 3664: 3660: 3656: 3654: 3649: 3647: 3644: 3642: 3639: 3637: 3633: 3630: 3629: 3625: 3621: 3619: 3615: 3614: 3610: 3605: 3598: 3596: 3591: 3587: 3584: 3582:0-520-24339-0 3578: 3574: 3570: 3566: 3563: 3561:0-19-315323-8 3557: 3553: 3549: 3545: 3541: 3537: 3533: 3530: 3528:0-19-816598-6 3524: 3520: 3519: 3514: 3513:Cooper, Barry 3510: 3507: 3505:0-86051-666-0 3501: 3497: 3493: 3489: 3488: 3483: 3475: 3470: 3467: 3464:, p. 133 3463: 3458: 3456: 3452: 3448: 3447:9780193163089 3444: 3440: 3439:0-19-316308-X 3436: 3432: 3426: 3423: 3419: 3414: 3412: 3408: 3404: 3399: 3396: 3393:, p. 106 3392: 3387: 3384: 3381:, p. 131 3380: 3375: 3373: 3371: 3369: 3365: 3362:, p. 213 3361: 3356: 3353: 3349: 3344: 3342: 3338: 3335:, p. 104 3334: 3329: 3326: 3322: 3317: 3314: 3310: 3304: 3301: 3298:, p. 306 3297: 3292: 3290: 3286: 3282: 3281:9780193163089 3278: 3274: 3273:0-19-316308-X 3270: 3266: 3260: 3257: 3254:, p. 129 3253: 3248: 3246: 3244: 3242: 3240: 3238: 3234: 3230: 3225: 3222: 3218: 3213: 3210: 3206: 3201: 3198: 3194: 3189: 3187: 3183: 3179: 3174: 3172: 3170: 3168: 3164: 3160: 3155: 3152: 3149:, p. 128 3148: 3143: 3141: 3137: 3133: 3128: 3125: 3121: 3116: 3113: 3109: 3104: 3101: 3097: 3092: 3089: 3086:, p. 192 3085: 3080: 3077: 3073: 3068: 3065: 3062:, p. 109 3061: 3056: 3053: 3049: 3044: 3041: 3037: 3032: 3029: 3025: 3020: 3017: 3013: 3007: 3004: 3000: 2995: 2992: 2988: 2983: 2980: 2976: 2971: 2968: 2964: 2958: 2955: 2951: 2946: 2943: 2940:, pp. 394–95. 2939: 2935: 2931: 2930:0-393-32638-1 2927: 2923: 2919: 2914: 2911: 2908:, p. 305 2907: 2902: 2899: 2895: 2890: 2887: 2884:, p. 304 2883: 2878: 2875: 2871: 2865: 2863: 2859: 2853: 2851: 2847: 2843: 2838: 2835: 2832:, p. 853 2831: 2826: 2823: 2820:, p. 617 2819: 2814: 2811: 2807: 2801: 2798: 2794: 2790: 2786: 2785:0-393-00478-3 2782: 2778: 2772: 2769: 2765: 2759: 2756: 2744: 2743: 2738: 2731: 2728: 2724: 2718: 2715: 2712:, p. 124 2711: 2706: 2703: 2696: 2690: 2688: 2684: 2680: 2676: 2672: 2668: 2664: 2660: 2656: 2652: 2648: 2644: 2637: 2636: 2632: 2631: 2626: 2625: 2621: 2618: 2615: 2611: 2607: 2606: 2601: 2597: 2593: 2589: 2585: 2581: 2577: 2572: 2571: 2567: 2564: 2563: 2558: 2554: 2551: 2550: 2546: 2541: 2537: 2536: 2535:33 Variations 2532: 2529: 2525: 2522: 2521: 2517: 2510: 2506: 2505: 2504: 2503: 2502: 2498: 2495: 2491: 2485: 2483: 2477: 2472: 2454: 2444: 2440: 2433: 2429: 2428: 2427: 2426: 2425: 2423: 2418: 2413: 2409: 2405: 2396: 2392: 2386: 2382: 2380: 2376: 2372: 2367: 2342: 2332: 2331:Fuga: Allegro 2328: 2321: 2317: 2316: 2315: 2314: 2313: 2311: 2305: 2303: 2299: 2295: 2275: 2265: 2261: 2254: 2250: 2249: 2248: 2247: 2246: 2244: 2224: 2214: 2210: 2203: 2199: 2198: 2197: 2196: 2195: 2193: 2189: 2181: 2177: 2170: 2166: 2165: 2164: 2163: 2162: 2160: 2153: 2148: 2145: 2139: 2135: 2128: 2124: 2123: 2122: 2121: 2120: 2118: 2110: 2106: 2099: 2095: 2094: 2093: 2092: 2091: 2089: 2084: 2076: 2072: 2065: 2061: 2060: 2059: 2058: 2057: 2055: 2034: 2024: 2020: 2013: 2009: 2008: 2007: 2006: 2005: 2003: 1999: 1998: 1993: 1983: 1979: 1959: 1948: 1944: 1940: 1933: 1929: 1928: 1927: 1926: 1925: 1923: 1919: 1912: 1911:Allegro assai 1908: 1901: 1897: 1896: 1895: 1894: 1893: 1891: 1887: 1886: 1881: 1874: 1870: 1863: 1859: 1858: 1857: 1856: 1855: 1853: 1845: 1841: 1837: 1833: 1826: 1822: 1821: 1820: 1819: 1818: 1816: 1812: 1811:Inner sanctum 1791: 1781: 1777: 1770: 1766: 1765: 1764: 1763: 1762: 1760: 1756: 1749: 1745: 1738: 1734: 1733: 1732: 1731: 1730: 1728: 1724: 1704: 1694: 1693:Poco moderato 1690: 1683: 1679: 1678: 1677: 1676: 1675: 1673: 1669: 1662: 1658: 1651: 1647: 1646: 1645: 1644: 1643: 1641: 1637: 1630: 1626: 1619: 1615: 1614: 1613: 1612: 1610: 1607: 1601: 1598: 1596: 1575: 1565: 1561: 1554: 1550: 1549: 1548: 1547: 1546: 1544: 1540: 1520: 1510: 1506: 1499: 1495: 1494: 1493: 1492: 1491: 1489: 1481: 1477: 1470: 1466: 1465: 1464: 1463: 1462: 1460: 1452: 1448: 1441: 1437: 1436: 1435: 1434: 1433: 1431: 1424: 1423: 1401: 1391: 1387: 1380: 1376: 1375: 1374: 1373: 1372: 1370: 1365: 1361: 1354: 1350: 1343: 1339: 1338: 1337: 1336: 1335: 1333: 1325: 1322:Variation 9: 1321: 1314: 1310: 1309: 1308: 1307: 1306: 1304: 1302: 1297: 1276: 1266: 1263:Variation 8: 1262: 1255: 1251: 1250: 1249: 1248: 1247: 1245: 1241: 1237: 1231: 1228:Variation 7: 1227: 1220: 1216: 1215: 1214: 1213: 1212: 1210: 1206: 1202: 1195: 1192:Variation 6: 1191: 1184: 1180: 1179: 1178: 1177: 1176: 1174: 1153: 1143: 1140:Variation 5: 1139: 1132: 1128: 1127: 1126: 1125: 1124: 1122: 1121: 1115: 1111: 1104: 1101:Variation 4: 1100: 1093: 1089: 1088: 1087: 1086: 1085: 1083: 1079: 1074: 1072: 1068: 1048: 1038: 1035:Variation 3: 1034: 1027: 1023: 1022: 1021: 1020: 1019: 1017: 1013: 1009: 1005: 1001: 996: 995: 984: 971: 968:Variation 2: 967: 960: 956: 955: 954: 953: 952: 951: 947: 941: 933: 918: 892: 882: 879:Variation 1: 878: 871: 867: 866: 865: 864: 863: 861: 860:Alleged Waltz 857: 853: 849: 845: 822: 812:Theme: Vivace 811: 806: 803: 801: 794: 792: 785: 783: 779: 777: 771: 767: 764: 760: 759: 754: 750: 744: 741: 735: 733: 729: 725: 714: 711: 703: 692: 689: 685: 682: 678: 675: 671: 668: 664: 661: – 660: 656: 655:Find sources: 649: 645: 639: 638: 633:This section 631: 627: 622: 621: 615: 613: 610: 606: 599: 597: 595: 591: 590: 585: 576: 573: 568: 566: 562: 558: 553: 551: 547: 543: 539: 530: 526: 524: 521: 517: 516: 515: 513: 509: 508:Schusterfleck 499: 497: 493: 489: 485: 477: 475: 472: 471:Veränderungen 468: 467:Veränderungen 464: 463:Hammerklavier 460: 456: 455:Veränderungen 451: 449: 445: 437: 435: 433: 429: 428: 421: 416: 413: 410: 405: 401: 396: 393: 388: 386: 382: 378: 374: 370: 365: 363: 359: 355: 349: 347: 342: 341:Schusterfleck 337: 335: 330: 328: 324: 320: 316: 315: 310: 306: 302: 298: 294: 286: 284: 282: 278: 274: 264: 260: 256: 252: 248: 243: 241: 237: 233: 228: 226: 222: 218: 213: 212:Martin Cooper 209: 205: 201: 197: 192: 190: 189: 184: 183: 178: 174: 170: 166: 162: 158: 157: 152: 148: 147: 136: 132: 128: 111: 107: 104: 100: 97: 93: 90: 87: 83: 71: 67: 63: 61: 57: 54: 51: 47: 40: 35: 32: 27: 24: 20: 3797: 3785: 3767: 3761: 3760: 3735: 3653:Don Giovanni 3652: 3617: 3611:Commentaries 3593: 3572: 3551: 3539: 3517: 3495: 3484:Bibliography 3473: 3469: 3430: 3425: 3420:, p. 26 3418:Solomon 2004 3398: 3386: 3355: 3350:, p. 52 3348:Brendel 1990 3328: 3316: 3308: 3303: 3264: 3259: 3231:, p. 96 3224: 3219:, p. 88 3212: 3207:, p. 72 3200: 3195:, p. 50 3193:Brendel 1990 3180:, p. 49 3178:Brendel 1990 3161:, p. 73 3154: 3134:, p. 51 3132:Brendel 1990 3127: 3122:, p. 37 3120:Brendel 1990 3115: 3103: 3098:, p. 71 3091: 3084:Solomon 2004 3079: 3074:, p. 20 3072:Solomon 2004 3067: 3055: 3050:, p. 13 3043: 3031: 3019: 3011: 3006: 2994: 2987:Solomon 2004 2982: 2970: 2962: 2957: 2952:, p. 46 2950:Brendel 1990 2945: 2921: 2913: 2901: 2889: 2877: 2869: 2842:Solomon 2004 2837: 2825: 2813: 2805: 2800: 2776: 2771: 2763: 2758: 2746:. Retrieved 2740: 2730: 2722: 2717: 2705: 2639: 2628: 2624: 2619: 2603: 2595: 2591: 2587: 2570: 2565: 2533: 2528:Michel Butor 2523: 2500: 2493: 2487: 2484:explaining: 2481: 2479: 2474: 2470: 2453:Variation 33 2442: 2421: 2419: 2415: 2411: 2407: 2388: 2383: 2368: 2358: 2341:Variation 32 2330: 2309: 2306: 2291: 2274:Variation 31 2263: 2243:Gentle grief 2242: 2240: 2223:Variation 30 2212: 2191: 2184: 2179: 2158: 2155: 2150: 2146: 2142: 2137: 2116: 2113: 2108: 2087: 2080: 2074: 2053: 2050: 2022: 2001: 1996: 1975: 1958:Variation 24 1946: 1942: 1921: 1915: 1910: 1889: 1885:Don Giovanni 1883: 1877: 1872: 1851: 1848: 1843: 1840:Meno allegro 1839: 1835: 1814: 1810: 1807: 1779: 1758: 1752: 1747: 1726: 1722: 1720: 1692: 1671: 1667: 1665: 1660: 1639: 1635: 1633: 1628: 1603: 1599: 1594: 1591: 1563: 1542: 1538: 1536: 1519:Variation 14 1508: 1487: 1484: 1479: 1459:Wave Pattern 1458: 1455: 1450: 1426: 1420: 1417: 1389: 1368: 1357: 1352: 1331: 1328: 1323: 1299: 1295: 1292: 1264: 1243: 1234: 1229: 1208: 1198: 1193: 1173:Tamed goblin 1172: 1169: 1141: 1117: 1113: 1107: 1102: 1081: 1078:counterpoint 1075: 1070: 1066: 1064: 1036: 1011: 1008:syncopations 1003: 1000:leggiermente 999: 993: 992: 982: 974: 970:Poco allegro 969: 949: 945: 942: 931: 916: 908: 880: 859: 855: 841: 796: 789: 780: 775: 772: 768: 758:Don Giovanni 756: 745: 736: 727: 721: 706: 697: 687: 680: 673: 666: 654: 642:Please help 637:verification 634: 608: 603: 587: 580: 577:Commentaries 570: 554: 538:Donald Tovey 534: 511: 507: 505: 481: 470: 466: 462: 458: 454: 452: 447: 443: 441: 431: 425: 423: 418: 414: 403: 397: 389: 376: 372: 366: 350: 340: 338: 331: 312: 295:, including 290: 259:C minor 251:C major 244: 229: 224: 216: 207: 196:Donald Tovey 193: 186: 180: 175:composed by 155: 154: 145: 144: 142: 22: 3626:Sheet music 3296:Cooper 2000 3024:Forbes 1967 2906:Cooper 2000 2894:Forbes 1967 2882:Cooper 2000 2830:Forbes 1967 2818:Forbes 1967 2742:Stereophile 2647:Carl Czerny 2578:or musical 2002:Pure Spirit 1986:Sonata in A 1844:Tempo primo 1609:complexity. 1606:semiquavers 1303:(to Brahms) 1265:Poco vivace 700:August 2022 594:sonata form 563:recording, 459:Variationen 327:a variation 323:Franz Liszt 301:Carl Czerny 273: major 255:tonic minor 247:key-changes 3829:Categories 3748:Variations 3713:Bagatelles 3462:Tovey 1944 3403:Tovey 1944 3379:Tovey 1944 3252:Tovey 1944 3147:Tovey 1944 3036:Tovey 1944 2975:Tovey 1944 2748:15 October 2710:Tovey 1944 2697:References 2083:inversions 1390:Allegretto 1301:Intermezzo 1110:crescendos 1012:Snowflakes 670:newspapers 478:Dedication 307:, and the 287:Background 161:variations 89:variations 3737:Für Elise 3518:Beethoven 3012:Beethoven 2870:Beethoven 2723:Beethoven 2422:To Handel 2371:inversion 2294:ornaments 2188:tone-poem 2075:Piacevole 1992:, Op. 110 1236:Sforzando 1205:arpeggios 852:art music 496:Schindler 134:Movements 109:Published 3592:(1944), 3571:(2004), 3550:(1987), 3515:(2000), 3494:(1990), 2584:interval 2580:sequence 2547:See also 2401:♭ 2363:♭ 1989:♭ 1943:Fughetta 1364:staccato 1360:tremolos 1240:triplets 1118:Learned 940:style". 848:dynamics 844:off-beat 559:'s 2006 469:. 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