DAILY DOSE OF BEETHOVEN (September 9, 2020)
Variations: The Three B's
In discussing Brahms’ “Handel Variations”, rather than establishing the logical succession of all 25 variations (there are many theories about it), we will identify those directly referring to music of Bach and Handel's time, and those referring to Beethoven's Diabelli Variations. Today, we will discuss the variations referring to Bach and Handel’s time.
THE ARIA
The Aria, or theme, is note for note from Handel’s own theme, as you heard it played yesterday. Brahms called it the "neutral ground." The aria, and bass line are simple, as are the harmonic progressions. The aria begins by ascending a simple fourth—Bb C D Eb—which will become the basis of the final fugue. It is followed by the F ornaments, such as trills and turns, give it a very vocal quality, and provide much fuel for the subsequent variations. The score for just the Aria is at the end of this post.
VARIATION 6
Variation 6 is a two part canon at the unison, played in octaves (which helps make the canon very clear). The second half begins with two measures of inverted canon. We have recently reviewed how in the “Goldberg Variations”, Bach employed canons at every interval, sometimes in inversion.
Here is variation 27 from the “Goldberg Variations”, a canon at the ninth, in just two voices.
Here is Brahms' Variation 6 also in two voices (though with octaves.)
VARIATION 16
Variation 16 features a canon in the eighth notes:
VARIATION 19
Variation 19 is a Siciliana based on the manner of Francois Couperin. Bach admired Couperin, and Brahms edited his complete keyboard works. First, a Siciliana by Couperin:
Then Variation 19:
VARIATION 22
Variation 22, sometimes called the "music box" is a "Musette." A Musette was a small bagpipe with a soft sound that was popular in the French court during the 18th century. Pieces written to imitate them would be quiet, with a limited range and a drone bass. The middle section of the “Gavotte II” from Bach's “English Suite No. 3”, is a “Musette”. Here we play just that section. It is an ironic transformation of the main Gavotte theme:
Here is variation 22:
Tomorrow we will compare Brahms' work to Beethoven's Diabelli Variations