Never heard this variation before. Beethoven's genius and imagination never ceases to amaze me! It has been said Mozart came from heaven, Beethoven goes to heaven. To me, Beethoven not only goes to heaven, but his listeners accompany him!
Theme - 0:11 Variation I - 0:46 Variation II - 1:03 Variation III - 1:21 Variation IV - 1:38 Variation V - 1:59 Variation VI - 2:20 Variation VII - 2:42 Variation VIII - 3:19 Variation IX - 4:08 Variation X - 4:31 Variation XI - 4:57 Variation XII - 5:18 Variation XIII - 6:19 Variation XIV - 6:40 Variation XV - 7:50 Variation XVI - 8:31 Variation XVII - 9:03 Variation XVIII - 9:49 Variation XIX - 10:09 Variation XX - 10:28 Variation XXI - 10:45 Variation XXII - 11:14 Variation XXIII - 12:01 Variation XXIV - 14:57
Also written in 1790 were the two "Emperor" Cantatas, WoO 87 and WoO 88. Never performed or published during his lifetime, these two choral works are among my favorite early Beethoven works.
Resaltando de las variaciones mozartianas y beethovenianas las del genio salzburgués son sencillamente impecables llenas de luz y equilibrio absoluto mientras que las del genio de Bonn son mucho más directas al corazón ordenadas y con esa chispa de emoción cada uno su estilo y forma de ver la Música
Gawd on 2nd trip it's like I'm hearing it and seeing the score for the 1st time . Var.3 is ingenius but I think Bach did the line up and line no-stopping going down in Goldberg but did Beethoven or anyone know of the Goldbergs at the time he was still in Bonn before Vienna . He was remaking the wheel.1790! The early Am Sonata has these new devices . Beethoven was a shocker from the very beginning !
I would say he even proved he was able to invent unlimited ones. But I ask you : are you sure he said the same thing ? He found ways to invent many ideas from a single one, that seemed so simple. Thus he proved that complexity does exist inside simplicity, which means Beethoven introduced dialectic into musical language. Beethoven demonstrates Heraclite's fragment : We bath and at the same time, we never bath two times in the same river. The river can only be by changing itself continuously.You can never be the same.Beethoven is Beethoven because he is continuously invented something he never made.
What was going on in Beethoven's life at that time? Why was he so interested in writing so many Variations on opera Arias in those days? Why does he even compose Arias . This has to do with a certain Magdalena Willmann , an excellent singer , especially admired for the way she sung Mozart. She stayed in Bonn untill 1794. and came to Vienna one year later. It is importent to know, that Magdalena was friends with Beethoven, who was even very much in love with her. He even wanted to marry her in 1796, but she didn't want and married a certain Galvani in the same year (1796). Many of the early Piano Variations are based on themes from Arias. This is an expression of Beethovens feelings for Magdalena. There is also much to be found in some of the Sonatas for Piano ( op.1o ,Nr 1,2,3) as well as Violin & Piano of that time ( before 1799 when Beethoven first met and immediately fell in love with Josephine ) where the name „Mag-da-le-na“ appears to be syllabically intonated. Especially in the Sonata Opus 10, No. 1, first mouvement, where the Name “Mag-da-le-na“ can be clearly heard several times . The song „ Adelaide“ op.46, one of the most moving love songs was performed by Magdalena as well as the Aria „ Ah! Perfido“ op 65, composed in 1976 which is particulary interesting as it deals with a woman's rage after having been abandoned by her Lover - obviously Beethoven was here alluding to the opposite scenario - his proposal was rejected by Magdalena.
Thanks for the info already posted here. And there's the lebewhol theme he uses so many years later in op.79 . wonderful to have discovered thsi really very early set. Beeth always had it ! Now,i must see what Hadyn did in this form besides the famous f or f# var.
I've been listening to this at least once a day! I try to play pieces of it too, but I'm not nearly good enough to get through them all and certainly not as good at playing as yourself. Great job, I thought I was listening to a recording by someone like Alfred Brendal at first!
An absolute masterpiece. Some Variations cold be put near the last Variations. Another abandoned work from Beethoven himself. Very strange. Maybe not: during that period of his life he wanted, he tried other way of composition. Or, simply, he forgot this piece like many, many, many others
All repeats should be taken. Repeats are an integral part of compositions and not to be ignored. The form suffers greatly if the repeats are not taken. Ask Andre Schiff.........
On my 2nd trip to visit this and now var.2 is out of this world . Pulsing , skyward rhthym closer to boulez than similar things one finds in czerny . But this pianist also has a way of making it sound "relevant , " . His staccatti are brittle nervous 20th century things . Haha. If this was on an 1805 Broadwood I wonder how it would sown with these touches & attacks . Var.16 is wnderful beyond all compare .Brahms knew exactly these were worth study. So are his Schumann,Handel,Paganini ,Hadyn variations and countless other works of Brahms !
There is sth original and interesting in these early works by V B that is lacking in the works of dozens other variations craftsmen , Wollfl, Hummel, Dussek etc
No.22 is reminiscent of the laster emaj sonata .I dont like WoO system.I never know where to place these works chronologically. there really should be a lucid clear system that gives one a sense where these other works- surely this is not miscellany. I need to research this problem with Beet's opus numbers and this cataloguer !
Із 24 варіацій мені найдужче сподобалась 14, оскільки вона доволі оригінальна: постійно змінюється темп. А це досить незвично, оскільки у Моцарта завжди була одна повільна варіація без темпових змін. Змінено: а, я не помітив повільної варіації
why did you crucify beethovens intentions? not that I care ...it might be more productive to crucify d60944...then there would be one less maroon cluttering these commentaries with inanities...(really though all kidding aside you have done a fine job here)
![Bach + [Various]: Transcriptions (Weissenberg, Rösel, Bax, Grimaud, Glemser)](http://i.ytimg.com/vi/exYK6Wzmh2g/mqdefault.jpg)
![Bach + [Various]: Transcriptions (Weissenberg, Rösel, Bax, Grimaud, Glemser)](/img/tr.png)
![Beethoven - 6 Variations in F Major, Op. 34 (Audio+Sheet) [Kempff]](http://i.ytimg.com/vi/IKsI3IBTEjI/mqdefault.jpg)
Never heard this variation before. Beethoven's genius and imagination never ceases to amaze me! It has been said Mozart came from heaven, Beethoven goes to heaven. To me, Beethoven not only goes to heaven, but his listeners accompany him!
truly!
Beethoven was a master at variations. He wrote these when he was only 20 years old!
I like this a lot!
Young, wise, witty and jazzy.
Especially No.15!
Good for the depression.
Theme - 0:11
Variation I - 0:46
Variation II - 1:03
Variation III - 1:21
Variation IV - 1:38
Variation V - 1:59
Variation VI - 2:20
Variation VII - 2:42
Variation VIII - 3:19
Variation IX - 4:08
Variation X - 4:31
Variation XI - 4:57
Variation XII - 5:18
Variation XIII - 6:19
Variation XIV - 6:40
Variation XV - 7:50
Variation XVI - 8:31
Variation XVII - 9:03
Variation XVIII - 9:49
Variation XIX - 10:09
Variation XX - 10:28
Variation XXI - 10:45
Variation XXII - 11:14
Variation XXIII - 12:01
Variation XXIV - 14:57
Thanks
E
Last variation is reference to his 17sonata 1st
Thank you. He should add this!
@@ludwigvanbeethoven8164 what do you mean?
Also written in 1790 were the two "Emperor" Cantatas, WoO 87 and WoO 88. Never performed or published during his lifetime, these two choral works are among my favorite early Beethoven works.
Resaltando de las variaciones mozartianas y beethovenianas las del genio salzburgués son sencillamente impecables llenas de luz y equilibrio absoluto mientras que las del genio de Bonn son mucho más directas al corazón ordenadas y con esa chispa de emoción cada uno su estilo y forma de ver la Música
Excellent performance. Rarely heard much these days and much the pity.
Beethoven's variations are artistry behind simplicity. Brahms told a student you couldn't study Beethoven's variations enough.
So simplistic, formulaic and methodical, and yet… full of profound, infinite beauty and creativity, so full of life and incredibly playful.
Gawd on 2nd trip it's like I'm hearing it and seeing the score for the 1st time . Var.3 is ingenius but I think Bach did the line up and line no-stopping going down in Goldberg but did Beethoven or anyone know of the Goldbergs at the time he was still in Bonn before Vienna . He was remaking the wheel.1790! The early Am Sonata has these new devices . Beethoven was a shocker from the very beginning !
Beautiful piece and a very delicate performance! Great job!
Once again Beethoven has shown that there is more than one way to say something.
I would say he even proved he was able to invent unlimited ones. But I ask you : are you sure he said the same thing ? He found ways to invent many ideas from a single one, that seemed so simple. Thus he proved that complexity does exist inside simplicity, which means Beethoven introduced dialectic into musical language. Beethoven demonstrates Heraclite's fragment : We bath and at the same time, we never bath two times in the same river. The river can only be by changing itself continuously.You can never be the same.Beethoven is Beethoven because he is continuously invented something he never made.
What was going on in Beethoven's life at that time? Why was he so interested in writing so many Variations on opera Arias in those days? Why does he even compose Arias . This has to do with a certain Magdalena Willmann , an excellent singer , especially admired for the way she sung Mozart. She stayed in Bonn untill 1794. and came to Vienna one year later. It is importent to know, that Magdalena was friends with Beethoven, who was even very much in love with
her. He even wanted to marry her in 1796, but she didn't want and married a certain Galvani in the same year (1796). Many of the early Piano Variations are based on themes from Arias. This is
an expression of Beethovens feelings for Magdalena. There is also much to be found in some of the Sonatas for Piano ( op.1o ,Nr 1,2,3) as well as Violin & Piano of that time ( before 1799 when Beethoven first met and immediately fell in love with Josephine ) where the name „Mag-da-le-na“ appears to be syllabically intonated. Especially in the Sonata Opus 10, No. 1, first mouvement, where the Name “Mag-da-le-na“ can be clearly heard several times . The song „
Adelaide“ op.46, one of the most moving love songs was performed by Magdalena as well as the Aria „ Ah! Perfido“ op 65, composed in 1976 which is particulary interesting as it deals with a woman's rage after having been abandoned by her Lover - obviously Beethoven was here alluding to the opposite scenario - his proposal was rejected by Magdalena.
Congratulations and many thanks! Very fine execution.
I didn t know these.He is king of variations.
Brahms would agree, I'm sure!
Thanks! And I agree it is definitely not heard enough!
my my .. the boy has talent
Thanks for the info already posted here. And there's the lebewhol theme he uses so many years later in op.79 . wonderful to have discovered thsi really very early set. Beeth always had it ! Now,i must see what Hadyn did in this form besides the famous f or f# var.
I've been listening to this at least once a day! I try to play pieces of it too, but I'm not nearly good enough to get through them all and certainly not as good at playing as yourself. Great job, I thought I was listening to a recording by someone like Alfred Brendal at first!
Thanks, pyronaught, and keep practicing. Determination will get you there, often sooner than you think!
Thanks very much for this great upload & the fantastic explanation!
also, the pianist is very good. Bravo
An absolute masterpiece. Some Variations cold be put near the last Variations. Another abandoned work from Beethoven himself. Very strange. Maybe not: during that period of his life he wanted, he tried other way of composition. Or, simply, he forgot this piece like many, many, many others
Beethoven only composed these contemporary style pieces to earn a living. Shame that he didn’t think much of them since they’re so sublime.
Instructivo comentario.Gracias.
All repeats should be taken. Repeats are an integral part of compositions and not to be ignored. The form suffers greatly if the repeats are not taken. Ask Andre Schiff.........
I agree, and were I do record them again I'd take them. Even so - are you and Mr. Schiff the repeat police?
On my 2nd trip to visit this and now var.2 is out of this world . Pulsing , skyward rhthym closer to boulez than similar things one finds in czerny . But this pianist also has a way of making it sound "relevant , " . His staccatti are brittle nervous 20th century things . Haha. If this was on an 1805 Broadwood I wonder how it would sown with these touches & attacks . Var.16 is wnderful beyond all compare .Brahms knew exactly these were worth study. So are his Schumann,Handel,Paganini ,Hadyn variations and countless other works of Brahms !
Variation 16 kind of reminds me of the third Diabelli variation.
A better title: Mark Dierauf - Beethoven's 24 variations on "Venni Amore" written by Righini
There is sth original and interesting in these early works by V B that is lacking in the works of dozens other variations craftsmen , Wollfl, Hummel, Dussek etc
Question: Why some repeats played and not others? To me all repeats should be played else the is an imbalance in the structure.
Not all, especially for beethoven. For auditions i never play the repeats because it turns from a 8min video to a 12min video.
Been playing the variations on Righini's arietta way slower than this recording. Still beautiful somehow.
No.22 is reminiscent of the laster emaj sonata .I dont like WoO system.I never know where to place these works chronologically. there really should be a lucid clear system that gives one a sense where these other works- surely this is not miscellany. I need to research this problem with Beet's opus numbers and this cataloguer !
I like is XI
Із 24 варіацій мені найдужче сподобалась 14, оскільки вона доволі оригінальна: постійно змінюється темп. А це досить незвично, оскільки у Моцарта завжди була одна повільна варіація без темпових змін.
Змінено: а, я не помітив повільної варіації
Does anyone know what instrument this is made for? im assuming piano
I would actually assume Piano Forte or Harpsichord both were being used mainly during that time period.
THANKS A LOT.
THIS IS BEAUTIFUL. WHO IS THE PERFORMER?
I am. Thanks, and I'm glad you enjoyed it!
why did you crucify beethovens intentions? not that I care ...it might be more productive to crucify d60944...then there would be one less maroon cluttering these commentaries with inanities...(really though all kidding aside you have done a fine job here)
Thanks! It's my policy never to feed the trolls.
Yes, I did not notice it before.
Actually, your name is indicated at the beginning of the video. You are fantastic!!
Thank you again, you're very kind to say so and I'm glad you enjoyed it!
Variation #1 sounds like Brahms.
Who is the performer?
I am. Recorded on my own Restored 1910 Steinway B.
6:19
10:09
Who is playing these? Great technique, but really crucifying Beethoven's actual intentions :/
Beethoven's actual intentions?
way too many rubatos, keep the tempo constant!