WoO 71 Twelve Variations in A major on Russian dance from the ballet “Das Waldmädchen” by Paul Wranitzky
Thema – Allegretto (La prima parte senza replica)
WoO 71, Twelve Variations in A major on Russian dance from the ballet “Das Waldmädchen” by Paul Wranitzky
Theme – Allegretto (The first part without replica)
Origin and Publication:
Probably composed in December 1796 or January 1797. The first edition was published in April 1797 by Artaria in Vienna.
Beethoven likely composed these variations after 23 October 1796 (the date of the premiere of Das Waldmädchen) and before 29 April 1797 (when the first edition was advertised in the Wiener Zeitung). A sketch appears on the same sheet as a draft title page for Adelaide, op. 46, whose edition was announced on 8 February 1797 (source 1.1.3). For this reason, Douglas Johnson assumes that WoO 71 was composed in December 1796 or January 1797 (Johnson/Fischhof, vol. 1, p. 431).
The variations are based on a theme from the ballet Das Waldmädchen by Josef Trafieri (c. 1755 – c. 1799), with music by Paul Wranitzky (1756–1808) and Joseph Kinsky. The ballet premiered on 23 September 1796 at the Kärntnertortheater in Vienna and remained in the repertory until 4 July 1804, with a total of 130 performances at the court theatre (Hadamowsky, Court Theatre, vol. 1, p. 137).
Wranitzky and Kinsky based the ballet’s “Rondeau Russe” on a variant of the Russian folk song Kamarinskaya, taken from the Violin Concerto No. 14 by Giovanni Mane Giornovichi (c. 1740–1804).
A piano reduction published by Tranquillo Mollo (Vienna) includes the note: “Russe par Jarnovich” (p. 20).
Joseph Haydn is known to have arranged this same theme for Flötenuhr (Hob. XIX:4), probably not in 1772 (as often reported), but more likely in late 1796 (Schmid/Flötenuhr, pp. 210–213; HaydnGA/Flötenuhrteile, p. 82).
Dedication:
To Anna Margarete, Countess von Browne-Camus, née von Vietinghoff (see op. cit. 10).
Count Browne, as a token of gratitude for the dedication, is said to have given Beethoven a riding horse (Wegeler/Ries, p. 120ff).
No record of a first performance survives.
Surviving Sketches:
(1) D-B, Mus. ms. autogr. Beethoven 28 (“Fischhof”), fols. 27r, 29v. Date: December 1796 / January 1797. Assignment to WoO 71 not fully confirmed. Facsimile: SBB/microfiches. Transcription: Johnson/Fischhof vol. 2, p. 133.
(2) GB-Lbl, Add. Ms. 29801 (“Kafka”), fol. 59r. Date: 1796 / January 1797. Facsimile and transcription: Kerman/Kafka, vol. 2, p. 89.
(3) D-BNba, BH 99. Date: December 1796 / January 1797. Facsimile: DBH/online. Transcription: Johnson/Fischhof, vol. 2, pp. 133ff.
First Printed Edition:
1797 (April). Vienna, Artaria & Comp., VN/PN 696.
Title: “XII VARIATIONS / For the Harpsichord or Pianoforte / On the Russian Dance danced by Mlle Cassentini / in the Ballet: Das Waldmädchen / Composed and dedicated / To Madame La Comtesse de Browne / née de Vietinghoff / By / Louis van Beethoven / No. [ms.: 4]”
Special thanks to scholar and friend Daniel Bernhardsson for providing the rare piano reduction of the ballet.
“Das Waldmädchen” di Paul Wranitzky is part of the project “Research becomes Art”
new life for the unknown works of Ludwig van Beethoven: An artistic exploration with technical notes by the pianist Professor Antonietta Cappelli and Jana ArcoDiva Prague.
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WoO 71 is part of the project “Research becomes Art”
new life for the unknown works of Ludwig van Beethoven: An artistic exploration with technical notes by the pianist Professor Antonietta Cappelli.
Listening Guide and Musical Analysis
The theme, composed of 19 bars in 2/4 time and introduced with an anacrusis, is structured in a clear ABB form. This formal outline is retained across all the variations, with the sole exception of Variation XII, which, although still in duple time, adopts a compound subdivision, introducing a ternary rhythmic feel.
The thematic material is presented with great clarity, and the writing often leans towards a contrapuntal style – most notably in Variation VI, where polyphonic interplay is particularly pronounced. Here we encounter a young Beethoven exploring his compositional voice with evident curiosity and inventiveness.
The choice of tonality, and the interplay between major and minor modes, creates striking contrasts of character. The brilliance and buoyancy of A major give way at times to the introspective, cathartic atmosphere of A minor. The composer employs an engaging array of rhythmic and technical devices – triplets, syncopations, offbeat accents, intricate phrasing, scalar passages, broken arpeggios, and octave figurations – all of which maintain the listener’s (and performer’s) attention throughout.
As is well known, all the elements of this set of variations highlight Beethoven’s remarkable command of keyboard technique. The Romantics would later come to define such genius as virtuosic – a title Beethoven undoubtedly merits. This work can be regarded as a true gymnastic exercise for any pianist, demanding both technical agility and musical insight.
The titular “Forest Maiden” (Das Waldmädchen) is evoked vividly in sound: one can almost imagine scenes and set designs materialising through the music. Beethoven takes the Russian dance theme, turns it on its head, reshapes it, and in doing so creates a series of miniature ballets – distinct vignettes, each perhaps representing a different glade or clearing where the maiden dances.
We find light-heartedness and playfulness in Variations I, II, IV, VIII, and IX; an enigmatic tone in Variation III; a tempestuous energy in Variations VII (aptly describable as an “infernal tarantella”) and X; a serene passion in Variation V; and an exquisite lyrical delicacy – reminiscent of a pas de deux – in Variation VI. Finally, Variation XI offers an explosion of melancholy, preparing the way for the villanella-style twelfth variation, which then leads with exuberance into the final cadenza.
In all, Beethoven achieves a brilliant synthesis of form, expression, and keyboard virtuosity, offering us a youthful but already unmistakably individual voice – one that foreshadows the depth and drama of his mature style.
(Antonietta Cappelli)