Opus 35 – 15 Variations with a Fugue in E flat major for piano
Opus 35, 15 Variations with a Fugue, in E flat major for piano op. 35, dedicated to Count Moritz Lichnowsky, autumn 1802, published in Leipzig, Breitkopf and Härtel, August 1803. G.A. number 163 (series 17/2) – Bruers 35, – KH. 35, – L.II, page 198 – Nottebhom 35, – Thayer 100.
These Variations were originally intended to be dedicated to Abbot Maximilian Stadler, a Viennese musician and composer who, although not a great admirer of Beethoven’s art due to his rather conservative views, nonetheless maintained a certain friendly relationship with him. However, in a letter dated 8 April 1803, Beethoven asked the publishers Breitkopf & Härtel to replace Stadler’s name with that of Count Moritz Lichnowsky:
“He is the brother of Prince Lichnowsky and has only recently done me an unexpected favour; and at the moment, I have no other way of showing him my gratitude.”
Many of the variations are predominantly ornamental in character and reflect a brilliant, concertante intention. However, elements of originality are certainly not lacking — such as the charming canon at the octave in the sixth variation, the lightness of the legato arpeggios that envelop the simple melodic line in the eighth, the incisive dominant pedal notes in the ninth and tenth (the latter strikingly altered with repeated fortissimo chords in C-flat across four octaves), and the desolate minor-mode phrase of the fourteenth, which follows the bass figuration of the theme transposed into the upper voice.
The fifteenth variation (Largo, 6/8) returns to the major mode, presenting the theme in its pure melodic form, expanded in note values, more florid and harmonically rich — though without a corresponding deepening of its basic structure or expressive content.
The three-voice Fugue that follows (based, as in the two fugatos of the Symphony Finale, on the first four notes of the bass) reveals the importance Beethoven attributed to the work by concluding it, in the model of earlier classical composers, with a strict contrapuntal form. This is then crowned — in the spirit of the festive solemnity typical of the closing pages of the Symphony — by a final glorification of the melodic theme.
The manuscript is preserved in the archives of the Beethoven-Haus (Bodmer collection). Several sketches, interspersed with thematic ideas also related to the Op. 34 Variations (see previous entry), are found in the Keßler notebook, among drafts for the Sonatas Op. 30 No. 1 for piano and violin and Op. 31 No. 1 for piano. Other scattered sketches appear in the Wielhorsky notebook. The importance Beethoven attached to this composition is confirmed by the letter to Breitkopf & Härtel already cited in relation to Op. 34.
This work appears as a preparatory study for the Finale of the Eroica Symphony. It not only shares the same foundational theme — first introduced by Beethoven in simpler forms in the finale of The Creatures of Prometheus (WoO 43, No. 288, XVI) and in the Twelve Contredanses for two violins and bass (No. 295) — but also the same method of presentation: the initial appearance of the simple bass theme “a due, a tre, a quattro”, with progressively increasing contrapuntal complexity. It acts as an introduction, from which the full melodic theme eventually emerges.
The variations were sketched in the summer and autumn of 1802. An autograph manuscript was sent to Breitkopf & Härtel in Leipzig as the model for engraving. The original edition appeared in August 1803. It is uncertain whether Beethoven had fully completed the composition when he offered it to the publisher in October 1802 (BGA 108). Regarding the surviving sketches at the end of the Keßler notebook and the beginning of the Wielhorsky, see the studies by Sieghard Brandenburg (Keßler, Vol. 1, pp. 33f), Kunze (Op. 35), and Reynolds (Op. 35).
The theme is derived from Variation No. 7 in WoO 14. Around the same time, in 1803, Beethoven began working with this theme again, adapting it for the finale of his Third Symphony, Op. 55.
For the negotiations with Breitkopf & Härtel, see also the account given for Op. 34. By March 1803, both sets of variations had probably already been engraved (BGA 128 and 141). According to the publisher’s records, Op. 34 was printed in April, whereas Op. 35 was not printed until at least August of that year.
There appears to have been some confusion regarding the number of variations. Beethoven initially offered 30 (later corrected to 38) (BGA 123, see Op. 34), but ultimately submitted a manuscript containing only 15 variations. Kaspar Karl van Beethoven referred to “24 variations” in two letters from February and March 1803 (BGA 127 and 129). When Breitkopf & Härtel requested confirmation of the number “by post” (BGA 128), Beethoven replied: “In respect…” — unfortunately, the rest is not provided here.
The publishers did not fulfil Beethoven’s request to mention the origin of the theme on the title page: “bey den großen Variationen ist noch Vergessen worden daß das Thema davon aus einem von mir kompomrien allegorischen Ballet (Op. 43) nemlich: Prometheus oder italienisch Prometeo, welches hatte auf das Titelblatt kommen sollen und wenn es möglich ist, bitte ich sie noch darum — d.h. im fall sie noch nicht herausgekommen, müßte das titelblatt geändert werden” (BGA 140).
Dedication: The work is dedicated to Moritz Graf von Lichnowsky, born 17 October 1771 in Vienna (baptised), and died there on 17 March 1837. He was the brother of Countess Henriette von Lichnowsky (see Op. 51 No. 2) and Prince Karl von Lichnowsky (see Op. 1), a close friend and patron of Beethoven.
Musically active as a pianist (reportedly a student of Mozart, like his brother) and composer, Moritz Lichnowsky published Variations for Piano on “Nel cor più non mi sento” from Paisiello’s La Molinara, in 1796 (edition by Johann Traeg, Vienna; no plate number, see Weinmann/Traeg, p. 19). Beethoven likely became acquainted with Moritz through his brother Karl’s household. In Beethoven’s subscriber list for Op. 1, Moritz is recorded as subscribing to two copies.
The first known posthumous reference is by Anton Schindler, who — citing the testimony of Moritz von Lichnowsky — claims that Beethoven and Lichnowsky frequently visited the French envoy in Vienna, General Bernadotte, in 1798 (Schindler/Beethoven, 1840, p. 55; TDR II, p. 64).
[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 35 15 Variationen (Es-dur) mit einer Fuge über ein eigenes Thema für Klavier Widmung: Moritz Graf von Lichnowsky NGA VII/5 AGA 163 = Serie 17/2 Beinamen: Eroica-Variationen, Prometheus-Variationen
Sketched during the summer and autumn of 1802. The transcription of the autograph manuscript was sent in December of the same year to the publishers Breitkopf & Härtel in Leipzig as a model for engraving. The original edition appeared in August 1803. It is doubtful whether Beethoven had already completed the composition when he offered the work to the publisher in October 1802 (BGA 108). For the many sketches found at the end of the “Keßler” notebook and the beginning of the “Wielhorsky” notebook, see the studies by Brandenburg (Keßler, Vol. 1, p. 33f), Kunze (Op. 35), and Reynolds (Op. 35). The theme of the Op. 35 variations derives from the finale (No. 16) of the music composed for Die Geschöpfe des Prometheus, Op. 43, at the end of 1800 or beginning of 1801.
Beethoven reused it between late 1801 and early 1802 in Contredanse WoO 14 No. 7. In 1803 he used it again for the finale of the Third Symphony, Op. 55. For Beethoven’s negotiations with Breitkopf & Härtel in Leipzig, see also Op. 34. By March 1803, both sets of variations were probably already engraved (BGA 128 and 141); according to the publisher’s ledgers, Op. 34 was printed in April, while Op. 35 was published in August. As with Op. 34, there was confusion regarding the number of variations. Beethoven initially offered 30 (later corrected to 38!, BGA 123; see also Op. 34), but ultimately sent a manuscript containing only 15 variations. In two letters from February and March 1803, Kaspar Karl van Beethoven mentioned 24 variations (BGA 127 and 129).
In response to Breitkopf & Härtel’s request to “clarify this matter by return post” (BGA 128), Beethoven himself replied: “In regard to the variations, if you believe there are not that many [Breitkopf had counted 15], it is likely a misunderstanding; they simply could not be indicated as such, for example in the larger ones, where the variations are merged in the Adagio, and the Fugue, of course, cannot be called a variation, just as the introduction of these great variations, which as you have seen begins with the theme’s bass, then proceeds to two, three, and four voices before finally arriving at the theme—this too cannot be considered a variation, etc.” Beethoven did not correct the statement by his brother or by Ferdinand Ries, who later wrote to Nikolaus Simrock about “24 great variations” (BGA 152). The publishers did not comply with Beethoven’s wish to name the origin of the theme in the edition’s title: “With the great variations, it was forgotten that the theme comes from an allegorical ballet I composed [Op. 43], namely: Prometheus, or Prometeo in Italian, which should have been stated on the title page; and if possible, I would still request this, that is, if the work has not yet appeared, the title page should be changed” (BGA 140). Moreover, despite his explicit request, he probably never received any proof copies (BGA 140).
On 12 February 1803, Kaspar Karl van Beethoven sent the dedications for Op. 34 and Op. 35 to Breitkopf & Härtel to be printed on the title pages. According to the information provided, Op. 35 was originally to be dedicated to Abbot Maximilian Stadler (BGA 127). However, Beethoven revoked the dedication on 8 April 1803 with the following words: “In general, you would be doing me a great favour if you would completely omit the dedication to Abbot Stadler on the great variations, and instead use the one I enclose here: dédiées etc. À Monsieur le Comte Maurice Lichnowsky. He is the brother of Prince Lichnowsky and only recently did me an unexpected favour, and now I have no other way to offer him something agreeable” (BGA 133). It is unknown what kind of favour this was. In 1814, Beethoven invited Moritz von Lichnowsky to a meeting with the bass singer Karl Friedrich Weinmüller regarding one of Beethoven’s concerts or possibly the revival of Fidelio (BGA 686; for the revival of Fidelio, see also BGA 695). When the pianist Thomas Broadwood gave Beethoven a grand piano at the end of 1817, Beethoven asked Lichnowsky to help obtain a customs exemption for the instrument’s import (BGA 1238), which was indeed granted (see Wiener Zeitung, 8 June 1818, p. 509). In 1823 and 1824, Moritz von Lichnowsky’s name appeared more frequently in Beethoven’s conversation books.
During this time, he tried to persuade Beethoven to compose another opera (see plans for operas and oratorios). In February 1823, Beethoven discussed with Lichnowsky his idea to compose a Mass for Emperor Francis I in the hopes of being appointed as court composer (see BKh 2 p. 355f and BGA 1578). In spring 1823, Beethoven and Lichnowsky competed for the same summer residence in Hetzendorf (BKh 3 p. 221, 244f and 249, and BGA 1640). Lichnowsky regularly inquired about the progress of the Ninth Symphony and was significantly involved in the preparations for the concert on 7 May 1824, but withdrew due to the numerous organisational difficulties. In addition to Op. 35, Beethoven also dedicated to Moritz von Lichnowsky the Piano Sonata Op. 90 and the Canonic Scherzo WoO 183 in 1815, as a token of mutual friendship.
The first performance is unknown. Beethoven played the Op. 34 and Op. 35 variations directly from manuscript for Georg August Griesinger in December 1802 (BGA 120). Sketches are preserved in A-Wgm, A34 (“Keßler”), pages 82v–88v and 89, dated June/July 1802 (Brandenburg / Keßler p. 150, possibly into autumn, Reynolds / Op. 35 p. 71f), facsimile and transcription in Brandenburg / Keßler. Also in RUS-Mcm, F. 155 No. 1 (“Wielhorsky”), pages 12–14 and 22–43, dated autumn 1802, facsimile and transcription in Fisman / Wielhorsky.
Opus 35 is a part of the project “Research becames Art”
A New Life for the Unknown Works of Ludwig van Beethoven: An Artistic Exploration by pianist and Maestro Giuseppe Bruno
