Opus 34, Six Variations on an Original Theme for Piano
Opus 34, Six Variations on an Original Theme for Piano, Op. 34, dedicated to Princess Babette Odescalchi, née Countess of Keglevich, were composed in the autumn of 1802 and published in Leipzig by Breitkopf & Härtel in April 1803. GA No. 162 (Series 17/1) – B. 34 – KH. 34 – L. II, p. 193 – N. 34 – T. 99.
The manuscript is preserved in the Peters Music Library in Leipzig. A sketch of the theme appears on page 176 of the Kessler notebook, among the sketches for the Variations of Op. 35, accompanied by the annotation (in the original German): Each variation in a different theme – exchanging passages once in the left hand, and then approximately the same or others, performed in the right. A few pages later, there is a second sketch of four bars in 6/8, which refers to the beginning of the final variation. Additional and more extensive sketches are found in the Wielhorsky sketchbook.
About these variations, and the later ones in E-flat major, Op. 35, Beethoven wrote to Breitkopf & Härtel on 18 October 1802:
“Both sets are worked out in a truly new manner… Each theme is treated in its own particular way and differently from the other. Usually, I have to wait for others to tell me when I come up with something new, because I never realise it myself. But this time, I can assure you personally that in both these works, the method, as far as I’m concerned, is entirely new.”
To refer more specifically here to the variations in question, we should note that they differ from one another, externally, not only through the variety of tempi (as clearly intended by the composer), but also through the key of each variation — something we do not find systematically applied in any other of Beethoven’s works in this genre. Beginning from the home key of F major, there follows a sequence of three descending thirds: the first variation in D major; the second (Allegro non troppo, 6/8) in B-flat major; the third (Allegretto, 4/4) in G major; the fourth (Tempo di Minuetto, 3/4) in E-flat major; and the fifth (Allegretto, Marcia, 2/4) in C minor, which finally modulates back to F major to introduce the sixth and last variation (Allegretto, 6/8), followed by an extensive concluding section (Coda. Molto adagio).
Some have wished to see in all of this a miniature application of a theory of tonal colour intended to correspond to specific expressive meanings — a rather nebulous idea, and not without a degree of cerebral over-interpretation. What is certain, however, is that the contrast of key signatures enhances the individuality of each variation, even within the serene framework of F major that opens and closes the series. The theme lent itself well to the rich ornamentation of the first variation; in the others, however, the composer treats it ingeniously in various ways — transforming it into a delicate two-part Allegretto in the third; making broad use of register contrast in the second, fourth, and (with the introduction of brilliant, broken chords that expand and amplify the concise martial rhythm) in the fifth.
Another striking effect is achieved in this fifth variation through the modulation to the major mode at the end, and the transformation of the C chord into a modulating harmony that leads into the F of the sixth variation, which takes up again — though in an entirely different, lighter character — the hunting-call figure of the second. The conclusion (Molto adagio) brings back the theme, now expanded and lavishly adorned.
[By Biamonti Giovanni – Catalogo cronologico e tematico delle opere di Beethoven comprese quelle inedite e gli abbozzi non utilizzati, Torino, ILTE 1968]
Official title: Opus 34 Sechs Variationen (F-dur) über ein eigenes Thema für Klavier Widmung: Anna Luise Barbara Fürstin d’Erba-Odescalchi NGA VII/5 AGA 162 = Serie 17/1
Origin and Publication: The variations were sketched in the summer and autumn of 1802. The transcription of the autograph manuscript was sent in December of the same year to the Leipzig publishers Breitkopf & Härtel as the model for engraving. The original edition appeared in April 1803. A first sketch of a variation cycle — with four still very preliminary incipits — can be found in a reconstructed notebook from the summer of 1800. However, the actual development only took place later, in 1802, alongside Op. 35. The sketches appear at the end of the notebook known as “Keßler”, and at the beginning of the “Wielhorsky” notebook.
Opus 34 was first offered to Franz Anton Hoffmeister in Leipzig by Kaspar Karl van Beethoven in September 1802:
„auch jezt haben wir nichts anders als 6 oder 7ben Variationen für Klavier, aber auf Art gemacht wie noch keine Existiren“ (BGA 103).
A fairly extensive correspondence survives between Beethoven, his brother Kaspar Karl, and Breitkopf & Härtel in Leipzig concerning the negotiations around Opp. 34 and 35. This correspondence provides valuable insight into the significance of the variations within Beethoven’s output. Both cycles were offered to the Leipzig publishers on 18 October 1802. Beethoven wrote:
“Ich habe zwei Werke Variationen gemacht, wovon man das eine auf 8 Variationen berechnen, und das andere auf 30 [corrected to ’38’] — beyde sind auf eine wircklich ganz neue Manier bearbeitet, jedes auf eine andre verschiedene Art. […] jedes thema ist darin für sich auf eine selbst vom ändern Verschiedene Art behandelt, ich höre es sonst nur von ändern sagen, wenn ich neue Ideen habe, indem ich es selbst niemals weiß, aber diesmal — muß ich sie selbst versichern, daß die Manier in beyden Werken ganz neu von mir ist” (BGA 108).
Two months later, when the manuscripts were sent, Beethoven requested that an explanatory note be printed for the Nichtkenner (“non-experts”):
“statt allem Geschrey von einer Neuen Methode von V[ariationen], wie es unsere Hr. Nachbarn die gallo-Franken machen würden, wie zu B[eispiel] mir ein gewisser fr[anzösischer] [cancelled: Reicha] Componist Fugen presentirte apres une nouvelle Methode, welche darin besteht, caß die Fuge keine Fuge mehr ist, etc — so habe ich doch gewollt den Nichtkenner drauf aufmerksam machen, daß sich wenigstens diese V. von ändern unterscheiden, und das glaubte ich am ungesuchtesten und unmerkbarsten mit dem kleinen vorbericht, den ich sie bitte sowohl für i:e kleinern als die großem V. zu sezen, […] hier der Vorbericht selbst: ,da diese V. sich merklich von meinen frühem unterscheiden, so habe ich sie, anstatt wie die Vorhergehenden nur mit einer Nummer (nemlich z.B.: No 1, 2, 3, u.s.w.) anzuzeigen, unter die Wirkliche Zahl meiner großem Musikalischen Werke aufgenommen, um so mehr, da auch die Themas von mir selbst sind.” (BGA 123, dated around 18 December 1802, received by Breitkopf & Härtel on 26 December 1802).
This statement, however, was never published. By March 1803, both sets of variations had been engraved (BGA 128). According to the publisher’s records, Op. 34 was printed in April, and the first copies were sent out in June (BGA 141 and 146). In response to the publisher’s refusal to send Beethoven proof copies before printing, the composer later commented that the edition he had been promised as “korrekte” was, in the end, “doch nicht so ganz korrekt” (BGA 158). Regarding the number of variations, some confusion emerged during negotiations. While Kaspar Karl van Beethoven initially offered “6 or 7,” the composer himself mentioned eight in October 1802 (BGA 107f). In February 1803, Kaspar Karl referred only to seven (BGA 127), but Breitkopf & Härtel found only six in the manuscript (BGA 128). Beethoven’s explanation about the counting of the variations in Op. 35 from April 1803 (BGA 133) probably also applies to Op. 34.
Dedication: For information on Princess d’Erba-Odescalchi (née Keglevicz), see the Piano Sonata Op. 7. Kaspar Karl van Beethoven communicated the dedication to Breitkopf & Härtel on 12 February 1803: “7 Variations Dediés A Madame la Princesse Odescalchi née Comtesse de Keglevics” (BGA 127).
First performance:
Unknown. Beethoven played both Op. 34 and Op. 35 for Georg August Griesinger in December 1802, directly from the manuscript (BGA 120).
The sketches will be featured in an article specially created for the Beethovenian Music Research Center, www.lvbeethoven.org
Opus 34 is a part of the project “Research becames Art”
A New Life for the Works of Ludwig van Beethoven: An Artistic Exploration by Maestro Pianist Giuseppe Bruno
